• nb1

INTRODUCTION

ARTIST STATEMENT

I am a composer, performer, and technologist who creates music with a special focus on the nuances and inner details of sound and its expression in a physically immersive listening space. ...

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When one listens attentively to details, it becomes readily apparent that most complex vibrating bodies — be they gongs, strings, etc. — do not produce a "note," but rather dozens or hundreds of perceivable events that unfold over time before the complex vibrating body comes to rest. In my music's sounds — both those produced acoustically and electronically — the complex nuances are used as critical artistic components. In my computer-integrated work, the computer is often used to emphasize the constituent parts within a single acoustically produced sound, as well as how the parts evolve, and mold them into new, compelling sound objects.

Our ability to localize sound (determine its spatial position and environment) is a powerful sensory function full of possibilities for artistic exploitation. Our auditory systems enable us to grasp the entire three-dimensional soundscape in which we are immersed at any point in time. This ability to listen simultaneously to sounds in all directions and distances contrasts greatly with our ocular system, which gives us only partial views of our surroundings. Not only can sound exist in space, but spaces themselves can provide us with sonic environments (for example, hear in your mind the vastly different behavior of sound inside of a cathedral versus a carpeted hallway). In my music, I take great care to craft not only kinetic audio spatial-forms, but also the acoustic environments in which they sound.

My main creative avenue is my music for marimba plus three-dimensional, high-definition, computer-generated sound. I designed my electronics system — controllers, software, etc. — as an extension of my aesthetic sensibilities, and it thus allows for an intensely personal approach to my works. Indeed, my works for this setup are intended for my performance alone, as soloist or ensemble member. My compositions for marimba plus computer are not fixed, but rather constantly evolve as I create new musical material and new computer processes. In live performance, I act as creator and live arbiter of the music, navigating through flexible compositional frameworks which utilize a complex system of interconnecting notation generation, acoustic instrumental performance, and real-time audio manipulation.

As counterpoint to my proprietary electro-integrated works, my compositions for acoustic instruments have scores available for performance by other musicians. Although the music is produced acoustically, it shares the same aesthetic framework as my electronic music. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. At first glance, the system is distinguished by its use of multiple colors and an attention to visual detail which reflects the artistic sensibilities of the music.

My work as a marimbist and technologist also includes the performance and presentation of acoustic and electro-integrated compositions written by other composers. This repertoire includes compositions from recent decades, including a growing number of compositions written specifically for me, as well as some centuries-old compositions.

In general, I strive to create musical events, as opposed to "pieces." In live performance, I assemble programs that are without intermission, with either a single, large-scale composition, or a set of works designed to create a unified event. My recordings are structured in the same way, as albums, with either a single, large-scale composition, or a collection of works that together have an artistic impact greater than the sum of the individual components. My music, both live and recorded, is often part of multi-media collaboration projects. Over the past few years, I have worked with dancers, sculptors, and video artists on performance and installation projects.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

I was born in 1978 in Madison, Wisconsin. In addition to studying privately with marimbist Leigh Howard Stevens, I studied at the Eastman School of Music (Rochester, NY), the Royal Academy of Music (London), and hold a doctoral degree in music composition from the University of Wisconsin–­Madison. From 2011 to 2013 I was a postdoctoral associate at the Wisconsin Institute for Discovery. I currently live with my wife Lisa and son Lev in Placitas, New Mexico.

INTERVIEWS

print

11-01-14
Percussive Notes

A publication of the Percussive Arts Society

DOWNLOAD (PDF)

Reprinted with permission of the Percussive Arts Society, Inc., 110 W, Washington Street, Suite A, Indiannapolis, IN 46204. e-mail: percarts@pas.org, web: www.pas.org

03-26-14
The Key

10-26-12
Downtown Devil

08-01-09
Percussive Notes

A publication of the Percussive Arts Society

DOWNLOAD (PDF)

Reprinted with permission of the Percussive Arts Society, Inc., 110 W, Washington Street, Suite A, Indiannapolis, IN 46204. e-mail: percarts@pas.org, web: www.pas.org

09-17-08
NUVO

04-01-08
Percussive Notes

A publication of the Percussive Arts Society

DOWNLOAD (PDF)

Reprinted with permission of the Percussive Arts Society, Inc., 110 W, Washington Street, Suite A, Indiannapolis, IN 46204. e-mail: percarts@pas.org, web: www.pas.org

DISCOGRAPHY

Every album in my discography was recorded in multi-channel (surround), high-definition (24 bit / 88.2 kHz) audio formats. All albums come with multiple versions of the musical material in a single package: HD multi-channel, HD stereo, and CD-quality stereo. The streaming audio samples below are a fast way to explore these recordings; however, they do not fully capture the qualities of this music as heard on their formal releases or at my live events.

ALBUMS FEATURING COMPOSITIONS BY NATHANIEL BARTLETT

TIMESPACEPLACE • SOUND-SPACE AUDIO LAB • SSAL-A4 • 2013 • AUDIO CD + DATA DVD

a//7:44-13:04 b//14:10-19:09

timeSpacePlace (a-side) and timeSpacePlace (b-side) • for marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba, mallet-tracking computer interface, and computer control: Nathaniel Bartlett

(((CLANG))) • SOUND-SPACE AUDIO LAB • SSAL-A1 • 2012 • AUDIO CD + DATA DVD

0:00-5:00 18:47-23:40

(((clang))) • for marimba and metal objects; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba, metal objects, and computer control: Nathaniel Bartlett

TRICHOTOMIC ECOLOGY • SOUND-SPACE AUDIO LAB • SSAL-A3 • 2011 • AUDIO CD + DATA DVD

7:57-12:22 23:28-28:28

trichotomic ecology • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • composed by Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett • percussion: Geoff Brady • viola: Nils Bultmann

FAR REACHES • SOUND-SPACE AUDIO LAB • SSAL-A2 • 2010 • AUDIO CD + DATA DVD

sb//2:25-7:33 Hp//7:23-12:23

far reaches contains two compositions • star_birth, for solo percussion* • Heap, for solo percussion** and real-time three-dimensional, high-definition, computer-generated sound • composed by Nathaniel Bartlett • *percussion: Justin Alexander • **metal percussion and computer control: Nathaniel Bartlett

ALBUMS FEATURING COMPOSITIONS BY OTHER COMPOSERS

PRECIPICE • ALBANY RECORDS • TROY855 • 2006 • HYBRID MULTI-CHANNEL SUPER AUDIO CD

Op//0:00-2:09 Pr//0:00-5:00
In//0:00-2:08 Sl4//0:00-1:10
VC//2:48-5:35

Opening, by Philip Glass • Precipice, for marimba and computer-generated sounds, by Allan Schindler • Interlude, for marimba and computer-generated sounds, by Greg Wilder • Silhouettes (4 mvts.), by Augusta Read Thomas • Vermont Counterpoint, by Steve Reich (mar. version N. Bartlett) • marimba: Nathaniel Bartlett

MARIMBA3

MARIMBA; REAL-TIME THREE-DIMENSIONAL, HIGH-DEFINITION, COMPUTER-GENERATED SOUND; AND REAL-TIME COMPUTER NOTATION PROCESSING


My performances seamlessly meld my five-octave acoustic marimba with a powerful Linux-based computer, custom computer control interfaces, a variety of hardware audio electronics, and eight loudspeakers (plus subwoofer) arranged in a cube. With the audience positioned in the center of the loudspeaker cube, an elaborate, kinetic, three-dimensional sound environment can be projected into the audience space, totally immersing the listeners in the music. In my immersive sound environments, spatialization (the positioning and movement of sounds in physical space) becomes a central musical parameter, along side of pitch, rhythm/time, timbre, and so on. ...

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The sound environments of my compositions are comprised of sounds culled from many sources and techniques, including digital audio manipulations of my live marimba, digital audio manipulations of recorded acoustic sounds stored on my computer, and synthetically engineered sounds. The intricate three-dimensional sound environments of my works are further enriched by the use of high-definition audio (24 bit/88.2 kHz, superior to CD-quality), which allows for a significant increase in sonic nuances.

In my performance rig, two computer monitors are used in place of a conventional music stand. The music notation, now free from the physical realm of paper and ink, is created and manipulated in real time, just as the computer-generated sounds are created and manipulated in real time.

I designed my performance rig for maximum mobility without compromising audio quality, and have performed all across the US in a wide variety of venues, such as art galleries and museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. In order to present my music in its original three-dimensional, high-definition form at every performance, I always tour with all my own electronic equipment and marimba.

Recordings of my original compositions and other projects — all on multi-channel, high-resolution media — can be found on Albany Records, and on my own label, Sound-Space Audio Lab.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

WORKS


My compositions for marimba + computer are dynamic works which evolve from performance to performance. Each composition has an overarching framework inside which I — as the composer and live performer of the composition, aided by computer-based algorithmic audio and score production — have the flexibility to realize different versions of the work.

After my compositions have undergone several rounds of evolution, I sometimes choose to record the work, which I can then present in concert settings as a fixed media composition. ...

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Recents events have included performances of:

apex altissimo (2014)
in balance (2014)
timeSpacePlace (2013)
RETURN TRANSMISSION (2012)
(((clang))) (2012)
summer sanctuary (2011)
time-­space-place (2011)
System Ping (2010)
Space Forms (2010)
Wear Patterns (2009)
sound-­space-­system (2009)
Blue Shift (2009)
Sodium Lights (2008)

SOUND-SPACE AUDIO LAB

Sound-Space Audio Lab is the name of my studio, mobile electroacoustic rig, and record label.

STUDIO AND MOBILE RIG

studio

I have created almost all facets of my SSAL discography in the SSAL studio. Only my composition star_birth, from far reaches (SSAL-A2), was tracked elsewhere.

I designed and built the first SSAL recording space in 2010 in Madison, Wisconsin. I designed the acoustic treatment system to be completely modular and mobile, and in 2014 I relocated the recording space to Placitas, New Mexico.

All recording is done digitally (24bit/88.2kHz) on my Linux-based computer system.

mobile rig

The core of the SSAL mobile rig is its array of eight loudspeakers and a subwoofer. I designed and built a set of mounts for the loudspeakers which allow them to be mounted on a variety of stands of different heights and rotated 360° vertically and horizontally. Most often, the loudspeaker array is set up in a "cube" format, with the audience in the center.

The SSAL mobile rig uses the electronics (microphones, microphone preamplifier, A/D/A converters, etc.) from my recording studio. This allows me to bring uncompromisingly nuanced, beautiful sounds to all my live events.

Traveling with such an eleborate electroacoustic rig is a sizable logistical challenge. In order to accomplish the task, I designed and built a set of road cases which use as little space as possible and minimize set-up / tear-down time.



RECORDINGS

Most of my musical activities as a performer and composer involve the use of highly detailed, immersive sound environments. In order to fully capture my works, SSAL recordings use high-definition, multi-channel audio.

SSAL recordings are available as two-disc albums (audio CD + data DVD). The audio CD (containing format D) is playable on standard CD players. The data DVD contains audio files in formats A, B, and C.

A // CUBE   // HD 24BIT/88.2KHZ
B // QUAD   // HD 24BIT/88.2KHZ
C // STEREO // HD 24BIT/88.2KHZ
D // STEREO // CD 16BIT/44.1KHZ

true dynamics

SSAL recordings, as a reflection of my musical aesthetics, are highly dynamic recordings. In other words, there is a huge range between the softest and loudest sounds. No dynamic compression is used. The PDF notes accompanying the recordings give directions for setting playback levels based on the loudest section in the composition.

loudspeaker setups

CUBE // For the cube format, eight loudspeakers should be placed at the vertices of a cube with the listener in the center.

QUAD // For the quad format, four loudspeakers should be placed at the vertices of a square with the listener in the center. The tweeters should be at about the same height as the listener's ears.

STEREO // For the stereo format, two loudspeakers should be placed in front of the listener at + and - 20 to 30 degrees. If the speakers are too close together, the stereo image will smaller than necessary. If the speakers are too far apart, the stereo image will be lost (sounding like two separate audio channels coming from the two different speakers). The tweeters should be at about the same height as the listener's ears.

physical media

SSAL physical media albums come in two-tone (black / brown) kraft paper envelopes, with brown kraft disc labels, black printing, and sleeved in resealable clear poly bags.

purchase recordings

SSAL recordings are available for purchase on physical media from:

SQUIDCO

IMAGES

marimba + computer
marimba + computer setup
marimba + computer
marimba + computer setup
marimba + computer
marimba + computer setup
marimba + computer
marimba + computer setup
marimba + computer
marimba + computer setup
Sound-Space Audio Lab timeSpacePlace
timeSpacePlace (SSAL-A4, 2013)
TSP Overture Center live
timeSpacePlace live
TSP/UECH1
TSP/UECH excerpt 1
trichotomic ecology percussion
percussion setup for trichotomic ecology
Sound-Space Audio Lab (((clang)))
(((clang))) (SSAL-A1, 2012)
TSP/UECH2
TSP/UECH excerpt 2
TSP/UECH3
TSP/UECH 3D installation version
Sound-Space Audio Lab trichotomic ecology
trichotomic ecology (SSAL-A3, 2011)
(((clang))) album excerpt
excerpt from the album (((clang)))
(((clang))) installation
(((clang))) installation
ssal1
recording at Sound-Space Audio Lab MK1 (Madison, WI)
bartlett marimba
performing on the marimba
Sound-Space Audio Lab far reaches
far reaches (SSAL-A2, 2010)
Nathaniel Bartlett wave energy
score for wave energy
Nathaniel Bartlett marimba computer
warehouse performance
Nathaniel Bartlett marimba computer
performing with video
Nathaniel Bartlett Albany Records Precipice
Precipice (TROY855, 2006)
sound-space audio lab
recording at Sound-Space Audio Lab MK2 (Placitas, NM)
Sound-Space Audio Lab album back
mobile rig in cases
Sound-Space Audio Lab album front
SSAL physical media front cover
Sound-Space Audio Lab album back
SSAL physical media back cover
Sound-Space Audio Lab album inside
SSAL physical media inside envelope
Sound-Space Audio Lab album poly bag
SSAL physical media in resealable poly bag

EVENTS

2015

01-20-1502-20-15
Columbus, OH

EVENTIMAGEOHIO 15 • presented by ROY G BIV Gallery

VENUEThe Shot Tower Gallery

WORKaudio/video installation • AUDIO: timeSpacePlace (b-side) (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album timeSpacePlace (SSAL-A4) • presented at this installation in stereo • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: Unseasonal Events Change Hands (2011) • by Toby Kaufmann-Buhler

2014

10-31-14
Wichita, KS

TIME • 8:00pm

EVENTKNOB Festival of New Music 2014

VENUE Fisch Haus Studios

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

10-29-14
Omaha, NE

TIME • 6:30pm

VENUE Bancroft Street Market

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

POSTER (11x17) POSTER (8.5x11)

10-27-14
Stevens Point, WI

TIME • 7:30pm

VENUE Noel Fine Arts Center • Room 240 • University of Wisconsin–Stevens Point

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

10-26-14
Madison, WI

TIME • 6:30pm

VENUE The Overture Center for the Arts • Promenade Hall

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

POSTER POST CARD

09-28-14
Cleveland, OH (2)

TIME • 3:00pm

EVENTIngenuity Cleveland

VENUE Great Lakes Science Center • Reinberger Auditorium

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

POSTER

09-28-14
Cleveland, OH (1)

TIME • 1:00pm

EVENTIngenuity Cleveland

VENUE Great Lakes Science Center • Reinberger Auditorium

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

POSTER

09-23-14
Tulsa, OK

TIME • 7:30pm

VENUE Living Arts

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-22-14
Conway, AR

TIME • 7:00pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

LISTENING SESSION • A listening session featuring excerpts from compositions by Nathaniel Bartlett, Allan Schindler, Karlheinz Stockhausen, Kraftwerk, and others, presented on the Sound-Space Audio Lab multi-channel, high-definition loudspeaker array

POSTER

09-21-14
Conway, AR (2)

TIME • 7:30pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

WORKapex altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

POSTER

09-21-14
Conway, AR (1)

TIME • 5:00pm

VENUE Snow Fine Arts Recital Hall • University of Central Arkansas

LECTURE/DEMO • A lecture/demo covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

POSTER

05-28-14
Philadelphia, PA

TIME // 6:30pm

VENUECrane Old School White Space

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

SEATING CHART POSTER

04-30-14
Philadelphia, PA

TIME • 6:30pm

VENUECrane Old School White Space

WORKin balance (2014) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

SEATING CHART POSTER

03-26-14
Philadelphia, PA

TIME • 6:30pm

VENUECrane Old School White Space

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • 8-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

SEATING CHART POSTER

01-12-14
Springfield, IL

TIME • 3:00pm

VENUEThe Pharmacy

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • 8-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

01-11-14
St. Louis, MO

TIME • 8:00pm

VENUELemp Neighborhood Arts Center

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2GESANG DER JÜNGLINGE (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

01-10-14
Tulsa, OK

TIME • 7:30pm

VENUELiving Arts

WORK 1KONTAKTE (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

WORK 2timeSpacePlace (a-side) (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album timeSpacePlace (SSAL-A4) • 8-channel (cube) loudspeaker array • fixed media • Composer: Nathaniel Bartlett

01-04-14
Madison, WI

TIME • 6:30pm

VENUE The Overture Center for the Arts • Promenade Hall

WORK 1Vivre (2008) • for three-dimensional, high-definition, computer-generated sound • 8-channel (cube) loudspeaker array • fixed media • composer: Allan Schindler

WORK 2in balance (2014, premiere) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • 8-channel (cube) loudspeaker array • live • composer/performer: Nathaniel Bartlett

01-03-14
St. Louis, MO

TIME • 8:00pm

VENUELemp Neighborhood Arts Center

WORKtrichotomic ecology (2011) • for marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • from the album trichotomic ecology (SSAL-A3) • 8-channel (cube) loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

2013 → 2004

08-10-13 // Madison, WI // University of Wisconsin–Madison

06-20-13 // Asbury Park, NJ // LHS Marimba Seminar

06-19-13 // Ocean Grove, NJ // LHS Marimba Seminar

03-17-13 // Stevens Point, WI // University of Wisconsin–Stevens Point

03-16-13 // Stevens Point, WI // University of Wisconsin–Stevens Point

02-23-13 // Madison, WI // Overture Center for the Arts

01-11-13 → 02-24-13 // Madison, WI // James Watrous Gallery

11-16-12 → 03-01-13 // Madison, WI // Town Center at the Wisconsin Institutes for Discovery

11-16-12 // Madison, WI // Town Center at the Wisconsin Institutes for Discovery

11-06-12 // Tulsa, OK // Living Arts

11-03-12 // Austin, TX // Percussive Arts Society International Convention

10-28-12 // Flagstaff, AZ // Northern Arizona University

10-26-12 // Tucson, AZ // University of Arizona

10-25-12 // Phoenix, AZ // The Icehouse

10-02-12 // Madison, WI // Town Center at the Wisconsin Institutes for Discovery

09-29-12 // Madison, WI // Overture Center for the Arts

08-30-12 // Madison, WI // Overture Center for the Arts

04-09-12 // Manhattan, KS // Kansas State University

04-01-12 // Madison, WI // Overture Center for the Arts

03-10-12 // Ithaca, NY // Ithaca College

10-14-11 // Madison, WI // Overture Center for the Arts

10-03-11 // Wayne, NJ // William Patterson University

10-02-11 // West Chester, PA // West Chester University

10-01-11 // New York, NY // Danspace Project

10-31-11 // New York, NY // Danspace Project

10-29-11 // New York, NY // Danspace Project

06-18-11 // Asbury Park, NJ // LHS Marimba Seminar

06-17-11 // Ocean Grove, NJ // LHS Marimba Seminar

05-08-11 // Madison, WI // Overture Center for the Arts

04-07-11 // Pittsburgh, PA // Robert Morris University

03-05-11 // Madison, WI // University of Wisconsin–Madison

03-05-11 // Madison, WI // University of Wisconsin–Madison

12-15-10 // New York, NY // Judson Memorial Church

12-14-10 // New York, NY // Judson Memorial Church

12-10-10 // Columbus, OH // The Fuse Factory

11-06-10 // Madison, WI // Overture Center for the Arts

09-20-10 // Atlanta, GA // Georgia Institute of Technology

09-17-10 // Orlando, FL // University of Central Florida

09-14-10 // Tallahassee, FL // Florida State University

09-13-10 // Atlanta, GA // Eyedrum

09-12-10 // Athens, GA // Athens Institute for Contemporary Art

09-09-10 // Lexington, KY // University of Kentucky

09-08-10 // Lexington, KY // University of Kentucky

05-28-10 // Madison, WI // Overture Center for the Arts

05-07-10 // Madison, WI // Higher Fire Gallery Annex

02-27-10 // Greenville, NC // East Carolina University

02-26-10 // Greenville, NC // East Carolina University

02-07-10 // Kirksville, MO // Truman State University

02-06-10 // Kirksville, MO // Truman State University

01-30-10 // Santa Fe, NM // The Santa Fe Complex

01-29-10 // Flagstaff, AZ // Northern Arizona University

01-26-10 // Albuquerque, NM // University of New Mexico

01-25-10 // Las Cruces, NM // New Mexico State University

01-20-10 // Arlington, TX // University of Texas at Arlington

01-19-10 // Conway, AR // University of Central Arkansas

01-17-10 // Tulsa, OK // Living Arts

12-11-09 // Madison, WI // Overture Center for the Arts

11-14-09 // Indianapolis, IN // Percussive Arts Society International Convention

10-02-09 // Rochester, NY // Eastman School of Music

10-01-09 // Rochester, NY // Eastman School of Music

09-05-09 // Madison, WI // Overture Center for the Arts

07-15-09 // Atlanta, GA // Eyedrum

07-10-09 // Somerville, MA // Third Life Studio

07-08-09 // Pittsburgh, PA // The Brew House

06-13-09 // Santa Ana, CA // Orange County Center for Contemporary Art

06-09-09 // Tucson, AZ // Solar Culture

06-07-09 // Albuquerque, NM // University of New Mexico

06-04-09 // Houston, TX // Super Happy Fun Land

05-29-09 // Madison, WI // Overture Center for the Arts

04-19-09 // Syracuse, NY // Onondaga Community College

03-07-09 // Whitewater, WI // University of Wisconsin–Whitewater

03-01-09 // Minneapolis, MN // Center for Independent Artists

12-20-08 // Madison, WI // Capitol Lakes Grand Hall

12-04-08 // Madison, WI // Overture Center for the Arts

11-20-08 // East Lansing, MI // SCENE Metrospace

11-15-08 // Austin, TX // Mexican American Cultural Center (New Music Coop)

11-14-08 // Austin, TX // Mexican American Cultural Center (New Music Coop)

11-12-08 // St. Louis, MO // Lemp Neighborhood Arts Center

10-11-08 // Madison, WI // Overture Center for the Arts

09-19-08 // Lansing, MI // Lansing Community College

09-19-08 // Indianapolis, IN // Indianapolis Art Center

09-07-08 // Spring Green, WI // Taliesin

08-21-08 // Pittsburgh, PA // Mattress Factory

06-18-08 // Madison, WI // Overture Center for the Arts

05-24-08 // Dallas, TX // Gallery 1308

05-21-08 // Houston, TX // Nutsuoh

05-18-08 // St. Louis, MO // Lemp Neighborhood Arts Center

04-27-08 // Madison, WI // Overture Center for the Arts

04-26-08 // Madison, WI // University of Wisconsin–Madison

03-21-08 // Philadelphia, PA // Mascher Space Cooperative

03-20-08 // New Bedford, MA // Gallery X

03-19-08 // Somerville, MA // Third Life Studio

03-28-08 // Philadelphia, PA // Philadelphia Ethical Society

01-20-08 // Manhattan, KS // Kansas State University

01-18-08 // Austin, TX // Austin Museum of Digital Art

01-14-08 // Berkeley, CA // Center for New Music and Technology

01-13-08 // Los Angeles, CA // Dangerous Curve

01-11-08 // Scottsdale, AZ // Taliesin West

01-07-08 // Houston, TX // Super Happy Fun Land

01-05-08 // Oklahoma City, OK // Individual Artists of Oklahoma Gallery

12-15-07 // Madison, WI // Overture Center for the Arts

11-17-07 // East Lansing, MI // SCENE Metrospace

11-16-07 // Ann Arbor, MI // Canterbury House

11-11-07 // Durham, NH // University of New Hampshire

11-03-07 // Marshfield, WI // Chestnut Avenue Center for the Arts

10-20-07 // Sturgeon Bay, WI // Fairfield Center for Contemporary Art

09-22-07 // Spring Green, WI // Taliesin

09-21-07 // Madison, WI // Capitol Lakes Grand Hall

09-15-07 // Minneapolis, MN // Studio Z

09-08-07 // Milwaukee, WI // Hotcakes

06-23-07 // Providence, RI // AS220

06-21-07 // Portland, ME // One Longfellow Square

06-20-07 // Cambridge, MA // The Lily Pad

06-16-07 // East Lansing, MI // SCENE Metrospace

06-08-07 // Philadelphia, PA // Mascher Space Cooperative

06-07-07 // Philadelphia, PA // Mascher Space Cooperative

05-12-07 // Media, PA // Maitri Yoga Studio

04-27-07 // Philadelphia, PA // Mascher Space Cooperative

04-18-07 // Denver, CO // Creative Music Works

04-17-07 // Ft. Collins, CO // Colorado State University

04-16-07 // Ft. Collins, CO // Colorado State University

04-13-07 // El Paso, TX // University of Texas at El Paso

04-11-07 // Las Cruces, NM // New Mexico State University

03-30-07 // Philadelphia, PA // Mascher Space Cooperative

03-23-07 // Rochester, NY // Eastman School of Music

03-22-07 // Rochester, NY // Eastman School of Music

03-10-07 // Oklahoma City, OK // Oklahoma City University

03-09-07 // Oklahoma City, OK // Individual Artists of Oklahoma Gallery

03-07-07 // Fayetteville, AR // University of Arkansas

03-06-07 // Conway, AR // University of Central Arkansas

03-02-07 // Glassboro, NJ // Rowan University

02-17-07 // Philadelphia, PA // Mascher Space Cooperative

01-26-07 // Chicago, IL // Heaven Gallery

01-25-07 // East Lansing, MI // SCENE Metrospace

12-29-06 // Madison, WI // Madison Center for Creative and Cultural Arts

12-23-06 // Milwaukee, WI // Hotcakes

12-22-06 // Madison, WI // Madison Center for Creative and Cultural Arts

12-17-06 // Philadelphia, PA // Mascher Space Cooperative

12-08-06 // Philadelphia, PA // The Rotunda (Bowerbird)

10-26-06 // Atlanta, GA // Eyedrum

10-24-06 // Harrisonburg, VA // James Madison University

09-18-06 // Syracuse, NY // Onondaga Community College

09-17-06 // Ithaca, NY // Cornell University

09-15-06 // Columbus, OH // MILO ELEKTRIC

09-12-06 // Cleveland, OH // Passport Project

09-11-06 // Milwaukee, WI // Hotcakes

09-08-06 // Sturgeon Bay, WI // Fairfield Center for Contemporary Art

09-01-06 // Madison, WI // First Unitarian Society of Madison

08-29-06 // Minneapolis, MN // Studio Z

08-25-06 // Rochester, NY // A/V

08-23-06 // Gloucester, MA // Fishtown Artspace

08-22-06 // Cambridge, MA // Zeitgeist Gallery

08-16-06 // New York, NY // The Tank

05-28-06 // Philadelphia, PA // Andrea Clearfield Salon

05-13-06 // Philadelphia, PA // The Arts League

04-15-06 // Richmond, VA // Artspace

04-01-06 // Baltimore, MD // The Red Room

03-31-06 // Philadelphia, PA // Philadelphia Ethical Society

03-07-06 // Oklahoma City, OK // Oklahoma City University

03-05-06 // Fayetteville, AR // University of Arkansas

03-04-06 // Conway, AR // University of Central Arkansas

03-03-06 // Conway, AR // University of Central Arkansas

01-29-06 // Kenosha, WI // Carthage College

01-27-06 // Madison, WI // Mills Hall

01-22-06 // East Lansing, MI // Michigan State University

11-28-05 // Glassboro, NJ // Rowan University

11-19-05 // Baltimore, MD // University of Notre Dame of Maryland

05-12-05 // Rochester, NY // Christ Church

04-08-05 // Eau Claire, WI (2)// University of Wisconsin–Eau Claire

04-08-05 // Eau Claire, WI (1)// University of Wisconsin–Eau Claire

03-22-05 // Tallahassee, FL // Florida State University

03-21-05 // Tallahassee, FL (2) // Florida State University

03-21-05 // Tallahassee, FL (1) // Florida State University

03-07-05 // Wayne, NJ // William Patterson University

03-04-05 // Cambridge, MA // Edward M. Pickman Concert Hall

02-25-05 // West Chester, PA // West Chester University

01-17-05 // Ft. Collins, CO (2) // Colorado State University

01-17-05 // Ft. Collins, CO (1) // Colorado State University

12-04-05 // Cambridge, MA // Edward M. Pickman Concert Hall

12-01-04 // Madison, WI // University of Wisconsin–Madison

11-30-04 // Madison, WI // Mills Hall

10-01-04 // Madison, WI // Chazen Museum of Art

06-16-04 // Elberon, NJ // LHS Marimba Seminar

04-18-04 // Madison, WI // Mills Hall

04-17-04 // Oshkosh, WI // University of Wisconsin–Oshkosh

04-03-04 // Tallahassee, FL (2) // Florida State University

04-03-04 // Tallahassee, FL (1) // Florida State University

03-30-04 // Rochester, NY // Eastman School of Music

01-27-04 // Conway, AR (1) // University of Central Arkansas

01-27-04 // Conway, AR (2) // University of Central Arkansas

SCORES

Occasionally, I create paper-and-ink scores for acoustic instruments, with a special emphasis on percussion. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. A guide to the notation system in included at the beginning of each score. To purchase scores, please email me.

EMAIL

APICAL TOPOGRAPHY • SOLO PERCUSSION • 2015

in progress

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nathaniel [at] nathanielbartlett [dot] com

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