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Electronic Music Interactive (Electronic Music Primer) is a text of 38 chapters written for the beginning electronic music student and customized for my students at the University of Oregon. To make the text more vivid in its explanations the New Media Center and I, in collaboration, reshaped this traditional text document text into an internet deliverable, multimedia document containing motion animations, sound, and glossary where the student can engage the content interactively. While Electronic Music Interactive is not currently "published" in the traditional sense, EMI is currently available on the web while we have ongoing discussions with both traditional publishers and non-traditional media publishers.
Recent awards and recognition given to Electronic Music Interactive include: The Macromedia Educator of the Month for December, 1996; The Chronicle of Higher Education "Internet Site of the Day" for March 21, 1997; Syllabus, "Shockwave Brings Electronic Music Instruction to Life," October, 1997; Digital Art and Design, VI (1997); New York Exposition of Short Film and Video, and Interactive Media, Jury Award, 1997; ID Magazine, June, 1997; Canadian Music, January/February, 1998; Electronic Musician, May 1998, May 1999; Rolling Stone, January 21, 1999; The Chronicle of Higher Education, "Bookmark," December 17, 1999; Electronic Musician, "Web Site of the Month," March, 2000.
Simple Requests: New American Music for Computer and Live Performers; seven composers, Simple Requests is the title cut for the compact disc of original computer music; Cambria Master Recordings, 1995.
Frankenstein, an opera for amplified voices, strings, piano and saxophone; score, parts and electronics (in compact disc format) available through American Composers Edition, New York, 1996. Premiere at the Scene Nationale de Reims of the Center National Art et Technologie in 1999.
The Frankenstein Concerto, a concerto for alto saxophone, orchestra, and computer-generated sound based on material from the Frankenstein opera; score, parts and electronics (in compact disc format) available through American Composers Edition, New York, 1996.
The Hildegard Game, a one-act opera based on the events in the life of Abbess Hildegard of Bingen; for amplified voices, instrumental ensemble and computer-generated sound; score, parts and electronics (in compact disc format) available through American Composers Edition, New York, 1997.
Elements in Transformations No. 1 and No. 2 (1998), a computer animation with musical score: Computer animation by Ying Tan and music by Jeffrey Stolet. Screenings include: Siggraph Art Show, Orlando, FL, July; 1998, Sixth Annual New York Digital Salon, New York, NY, November, 1998 (Jurored screening); 25th Northwest Film & Video Festival, Portland, OR 1998 (Jurored screening); Broadcast as part of the VIDEO LOUNGE at the Knitting Factory, AlterKnit Theatre; Transmediale International Media Art Festivel, Berlin, Germany, 1999 (Jurored screening); Broadcast on SFB (Channel Free Berlin) who will broadcast selected work from Transmediale International Media Art Festival.
Faust/Faustus (1999), score for Leon Johnson's multimedia performance work. Performances at----Festival, San Francisco, CA, Fine Arts Museum and BlackBox Theater, Eugene, OR, PICA Theater, Portland OR, seventeen venues in Great Britain.
Caminos Terrible, Desiertos Crueles (Wicked Paths, Cruel Deserts), a media opera for mezzo soprano with computer animation and computer-generated sound.
"We are able to say that this Frankenstein is
the musical version of a morality play that is so dense that the audience
doesn't even have time to catch its breath..." "... the dialogue between the
piano and the saxophone is charged with an expressionistic mood very close
to free jazz which does not fail to evoke the composer's predilection for
the music of Ornette Coleman and Frank Zappa. The musical composition is extremely
captivating, as is the scenic idea of accentuating the monstrosity of the
creature through use of three optical lenses. We left the theatre with the
distinct impressions, without really understanding why, of having heard a
work close in spirit to Lulu of Alban Berg."
—Ongaku-No-Tomo (Tokyo, Japan)
"the music of the American Composer Jeffrey Stolet and
the staging of Jean-Marie Lejude succeeded in allowing us to forget the thousand
and one other adaptations of this myth [Frankenstein] which haunt our
imagination."
—La Lettre du Musicien, Reims, France
"a brilliant young composer, .... The Main Event
... was like an artistic shock wave. And in the tremors I still feel a genuine,
distinctly modern sense of pathos. For me, The Main Event is a masterpiece.
I believe that the importance of Stolet's works soon will be recognized throughout
the fragmented culture it so vividly reflects."
— Tom Manoff, National Public Radio, All Things Considered
"focused... unified... fractured... ferocious...frenetic...",
"digital hell... a revelation", "His live performances are intense theatrical
collages of dark, suspenseful motion....", "The CD (The Computer Music of
Jeffrey Stolet) is a triumph from beginning to end..."
— The Journal of the Society for Electro-Acoustic Music in the United
States
"Deliciously mad."
— Ann Arbor Daily News
"...Dream-like and other worldly."
— CKLN, Toronto
"Certainly, there was no lack of expression and sheer
drama in Friday night's performance... the sound was ethereal, even mystical,
at times tense, disturbed, the jangled anxious voice of our age. 'Strains'
was contrapuntal, culminating in a triple canon, but the effect was ghost
like and eerie, with thematic entries sounding like spirit-voices, floating,
dancing gliding into the arena out of their ethereal world. 'Gregorian,' sounding
like a new-wave, celestial chorus, contrasted a bass voice against temple
gongs, evoked images of chants from an eastern monastery... For all of its
assault on the senses, the music to 'Sonata Formication' had something of
the tight metaphor and understatement of T.S. Eliot's 'Wasteland.' Stolet
forces us to confront what no thinking person can avoid in the history and
reality of the contemporary world... he gives us the transcendent vision of
the artist, conveying through music and gesture the hope that heightened consciousness
will lead us not to despair, but to human ties..."
— Eugene Register-Guard, U.S.A.
Page 1: Professional Biography.
Page 2: Short Vita.
email: stolet@darkwing.uoregon.edu