Sentient Lacuna explores an experimental concept and process of a non-idiomatic improvisation through the prism of acoustic-electronic sound synthesis. However esoteric and intangible, these processes of mixing electronic and acoustic mediums occur in the lacuna between composed and improvised environments allowing creation of another organically formulated music paradigm.
Through our art, we strive to propagate non-idiomatic and trans-idiomatic improvisation as a live element of the compositional creation. We believe that music can only stay alive when it is in a constant transformational vortex and that every rendition of the same piece brings something new to continue defining its structure and form. We strongly believe in an organic process of blurring the boundaries between improvisation and composition and allowing performance freedom to define these constituents.
Harry Ward (1988) is a composer, educator, percussionist, and electroacoustic-artist from Farmington, Missouri. His electroacoustic performances exist through an eclectic amalgamation of acoustic and electronic sounds created through non-idiomatic improvisation and live audio processing. Most recently, Harry performed with the University of Tennessee’s Electroacoustic Ensemble at Electro-music Asheville (2018), the USF New-Music Consortium (2018), the International Electro-music Festival (2017), and the Big Ears Music Festival (2017).
As a composer, Harry has had his music performed at several SCI-sponsored music festivals, as well as by graduate solo artists and ensembles. Most recently, Harry’s multi-keyboard solo “Memory Bias” won the 2017 Percussive Arts Society International Convention multi-keyboard solo composition contest (performed by Andrew Morales). Several of his compositions/arrangements have been performed by marching bands across the midwest.
As an educator, Harry has taught private percussion lessons and served as staff percussion technician and composer/arranger for several high schools across the midwest. Most recently, Harry has taught music theory and aural skills at Missouri State University and the University of Tennessee, where he was the recipient of a prestigious Thomas Fellowship for his research presented at the University of Tennessee and at the 2018 CMS Southern chapter regional conference. Harry’s research interests include the music of Alfred Schnittke, Schenkerian Theory, hermeneutics, phenomenology, and music theory/aural skills pedagogy. Harry received his Bachelor’s degree in Music Composition from Missouri State University, and his Master’s of Music degree in Music Theory from the University of Tennessee. Currently, Harry is obtaining his PhD in Music Theory from the University of Arizona.
For more than two decades,
Jakub Rojek has been involved in cross-over performance, composition, and improvisation. His expertise spans non-idiomatic and trans-idiomatic improvisation, its development, application and pedagogical aspect.
His has been awarded prizes and scholarships at International Composition Competition in Darmstadt, Germany, Indiana State University Contemporary Music Festival, Internationale Bachakademie Stuttgart, New England Conservatory, and performed in venues such as Jordan Hall in Boston, University of Arizona Crowder Hall, Chopin Theatre in Chicago, and in his native Poland. His works have been featured at “Oh My Ears” New Music Festival in Phoenix, and at Indiana State University’s “Music Now Concert” as a part of Contemporary Music Festival.
His music has been documented on four album releases, all four featuring him as a pianist and composer respectively, Cudawianki 2011, Impish Brevity 2013, Live from Steinway Hall released in 2015 on A-side Records, and Voluptuous Velocities 2016. He has received commissions from visual artist Karine Laval, Grammy-nominated multi-reedman Aaron Kruziki, Polish soprano Milena Lange, Self-Imposed Exile, Rojek-Ward electro-acoustic Duo.
As a multi-disciplinary scholar, Rojek has also presented at conferences organized by A2RU The Alliance for the Arts in Research Universities, and Southwest Chapter of the Society for Ethnomusicology, University of Arizona, and has been invited to present his research on non-idiomatic improvisation at University of the Arts at Utrecht in the Netherlands. In 2019, Rojek undertook a multi-disciplinary project initiated in cooperation with Arizona artists Ozlem Ozgur, Dianna Taylor, and Leah netsky, Stories of Our Food, founded at the University of Arizona. He currently is a DMA candidate in music composition at University of Arizona Fred Fox School of Music studying with Daniel Asia.