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Bio

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Christopher Jette is a curator of lovely sounds, creating work as a composer and new media artist. His creative work explores the artistic possibilities at the intersection of human performers/creators and technological tools. Having trained as a violinist, his compositions are strongly coupled to the performer that they are written for, highlighting their unique performance perspective. Jette’s research details his technical and aesthetic investigations and explores technology as a physical manifestation of formalized human constructs. A highly collaborative artist, he has created works that involve video, dance, theater, websites, electronics, food, toys, typewriters, cell phones, printing, instrument design and good ol’ fashioned wood and steel instruments. In addition to creating concert music, Jette explores Creative Placemaking through site-specific and interactive work as a core-four member of the Anchorage based Light Brigade.

Jette is an active member of the research and composition community both locally and internationally having presented works in Mexico, China, Finland, England, Italy, New Zealand, Australia, France, Poland, Greece, Romania and throughout the United States. He is frequently commissioned and his work is recognized with various awards, fellowships and residencies. Jette received a PHD in composition from the UC Santa Barbara, a MM in composition from the New England Conservatory and a BA in violin performance from the University of Wisconsin, Oshkosh. He was the 2015-16 Interdisciplinary Performance Grant Wood Fellow and Visiting Assistant Professor in Music at the University of Iowa, Iowa City. He served as the Technical Director of the Max Lab and was a Lecturer at Stanford University.

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CV

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Activities

 

Publications

• F. Lopez-Lezcano and C. Jette. Bringing the Grail to the CCRMA Stage. In Proceedings from the Linux Audio Conference (LAC-19) CCRMA, Stanford University, USA, 2019.
• E. Canfield-Dafilou, E. Callery, and C. Jette. A Portable Impulse Response Measurement System. In Proceedings from the Sound and Music Computing Conference (SMC) Limassol, Cyprus, 2018.
• C. Jette and J. Buchholz. Fluor Sonescencce: A Sonification of the The Visualization of Brass Instrument Tones. In Proceedings of International Conference of Auditory Display (ICAD), Houghton, MI, 2018.
• C. Jette. Profound Play. Sonus, Cambridge MA, Spring, 2018
• C. Jette and N. Krueger. Textual and Sonic Feedback Loops: Simultaneous conversations as a collaborative process in cmetq. In Proceedings of International Computer Music Conference (ICMC), Utrecht, NL, Ann Arbor, MI: Michigan Publishing, University of Michigan Library, 2016.
• C. Jette, K. Thomas J. Villegas and A. Forbes. Translation as Technique: Collaboratively Creating an Electro-Acoustic Composition for Saxophone and Live Video Projection. In Proceedings of International Computer Music Conference (ICMC)/Sound and Music Computing (SMC), Athens, GR, Ann Arbor, MI: Michigan Publishing, University of Michigan Library, 2014.
• C. Jette and K. Kirchoff. # chronicled: Two Realtime Concert Reviews Sonified. In Proceedings of The Fourteenth Biennial Symposium on Arts and Technology, pp. 100 103, The Ammerman Center for Arts and Technology Connecticut College, 2014.
• A. G. Forbes, C. Jette, and A. Predoehl. Analyzing Intrinsic Motion Textures Created from Naturalistic Video Captures. In Proceedings of the International Conference on Information Visualization Theory and Applications (IVAPP), Lisbon, Portugal, 2014.
• C. Jette. Musical form as an Interaction of Algorithmic and Manual Compositional Strategies: An analysis of Curtis Roads’s Never. PhD thesis, Department of Music, University of California, Santa Barbara, 2012.
• C. Jette. In Vitro Oink: A Case Study in Manual and Algorithmic Compositional Approaches. In Proceedings of The Thirteenth Biennial Symposium on Arts and Technology, The Ammerman Center for Arts and Technology Connecticut College, 2012.
• C. Jette. In Vitro Oink: A Composition for Piano and Wii-Remote. eContact!, vol. 13.2, Keyboard + Live Electronics: The Performers Perspective, 2011.
• C. Jette and K. Kirchoff. Wii Play Piano: Composing for Piano and Wii Remote. In Proceedings of International Computer Music Conference (ICMC), Huddersfield, UK, Ann Arbor, MI: Michigan Publishing, University of Michigan Library, 2011.
• S. Bakht and C. Jette. www.lovelyweather.com: A web-based interactive Audio-Visual Environment. In Proceedings of International Computer Music Conference (ICMC), Stony Brook, USA, Ann Arbor, MI: Michigan Publishing, University of Michigan Library, 2010.
• C. Jette. Decompartmental: Conversing with Clarence Barlow. Computer Music Journal, vol. 33, no. 4, pp. 10 - 22, 2009.

Conferences

• Premiere of Nortem @ Rødbankens Festsal The Northern Lights Festival Tromso, Norway [01/31/2020]
• Perfromance of the first time you closed your eyes @ The Northern Lights Festival Tromso, Norway [01/30/2020]
• Performance of Multiphonium (6 euphonium with 3d printed mouthpieces + 1 human) in Ajar Festival @ UiT The Arctic University of Norway Tromso, Norway [11/29/2019]
• Performance of Fluor Sonoescence @ ICAD Houghton Michigan[06/13/2018]
• Paper @ ICAD [06/12/2018]
• Talk @ Sonorities Symposium - SARC [04/21/2018]
• Wimal performance @ SEAMUS 2018 [03/31/2018]
• Performance of Telematic Networked Feedback with Matt Wright @ Root Signals, Statesboro GA [02/23/2018]
• Composition Presented Unmoored Jetty : at Sound and Music Computing Conference, Espoo Finland (2017)
• Performance of Psionic at The Electro Acoustic Barndance, University of Mary Washington, Fredericksburg, VA [11/12/2016]
• Lecture and Performance Psionic, v->t->d, Amazing Stories, SuMoCu & ToLetFony @ Digital Media Festival, Penn State Berhrend, Erie PA (2017)
• Performance of SuMoCu at Root Signals Festival of Electronic Music and Media Art, Statesboro, GA (2017)
• Paper presented Textual and Sonic Feedback Loops: Simultaneous conversations as a collaborative process in cmetq : at the International Computer Music Conference, Utrecht, NE (2016)
• Composition presented Luminesant Trajectories : at the International Computer Music Conference, Utrecht, NE (2016)
• Composition presented v->t->d at the International Computer Music Conference, Denton, TX (2015)
• Composition presented Luminesant Trajectories : at Root Signals, Jacksonville, FLA (2015).
• Composition presented : utuquq at New York City Electroacoustic Music Festival (NYCEMF) Abrons Arts Center, New York, NY (2015).
• Composition presented : utuquq at Society of Electro-Acoustic Music in the United States (SEAMUS), Virginia Tech, Blacksburg, VA (2015).
• Paper and composition presented : "Translation as Technique: Collaboratively Creating an Electro-Acoustic Composition for Saxophone and Live Video Projection" and v->t->d at the International Computer Music Conference, Athens, Greece (2014).
• Composition presented : LasuDax at the Society for Electro Acoustic Music in the United States (SEAMUS), Wessleyan University (2014).
• Composition presented Luminesant Trajectories : at MUSLAB 2014, Mexico City, Mexico (2014).
• Composition invited : SoundLines at the International Computer Music Conference, Huddersfield, UK (2011).
• Piece and Paper : In Vitro Oink at the International Computer Music Conference, Huddersfield, UK (2011).
• Composition presented : susone at the Associazione Informatica Musicale Italiana, Torino, IT (2010).
• Installation and Poster : www.lovelyweather.com at the International Computer Music Conference, Stony Brook, NY (2010).
• Paper presented : “Art is in the Ear of the Beholder.” at The International Hildegard von Bingen Society 25th Anniversary, Chestnut Hill College, Philadelphia, PA (2008).
• Artist participant :  Steitishcher Herbst: Modes of Listening Graz, Austria (2007).

Teaching Experience

• MaxMSP Summer Workshop (online), Summer 2020. Co-Instructor, Stanford University.
• MUS:009, Introduction to Listening: Electronic Music, F2019, Instructor, Santa Clara University
• MUS:119, Music, Technology and Society, S2019. Instructor, Santa Clara University
• MaxMSP Summer Workshop, 2019, Co-Instructor, Stanford University.
• MaxMSP Summer Workshop, 2018, Co-Instructor, Stanford University.
• SoundArt Summer Workshop, 2018, Co-Instructor, Stanford University.
• MUS:128, Stanford Laptop Orchestra (SLOrk), S2018. Co-Director, Stanford University.
• MUS:220D, Independent Study, S2018, Instructor, Stanford University.
• MUS:220D, Independent Study, W2018, Instructor, Stanford University.
• MUS:220D, Independent Study, F2017, Instructor, Stanford University.
• MaxMSP Summer Workshop, S2017. Co-Instructor, Stanford University.
• MUS:128, Stanford Laptop Orchestra (SLOrk), S2017. Co-Director, Stanford University.
• MUS:3190:0002, Laptop Orchestra, S2016. Interim Director, University of Iowa.
• MUS:2220:0882, Composition Seminar, F2015. Primary Instructor, University of Iowa.
• MUS:3190:0002, Laptop Orchestra, F2015. Interim Director, University of Iowa.
• DAN:5550:0001, Collaborative Performance, F2015. Co-Instructor, University of Iowa.
• Composition, Sound & Technology, High School Session four 90 minute sessions for two weeks, Sitka. 2015, Sitka Fine Arts Camp.
• ISTA 301 Computing in the Arts, F2013. Guest Lecturer. ISTA 401 Multimedia Installation, S2013. Guest Lecturer, University of Arizona.
• ART 100 Basic Design, F2013, Guest Lecturer, Pima Community College.
• MUS 008 Composition Class, S2011. Teaching Associate, University of California, Santa Barbara.
• MUS 088 Private Composition Lessons, S2011. Teaching Associate, University of California, Santa Barbara.
• MUS 008 Composition Class, F2010. Teaching Associate, University of California, Santa Barbara.
• MUS 088 Private Composition Lessons, S2010. Teaching Associate, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, S2010. Teaching Assistant, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, F2009. Teaching Assistant, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, S2009. Teaching Assistant, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, F2008. Teaching Assistant, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, S2008. Teaching Assistant, University of California, Santa Barbara.
• MUS 109/209 Real Time Synthesis and Composition Techniques, F2007. Teaching Assistant, University of California, Santa Barbara.
• Two summer course in Electronic Music for middle and high school students, Palo Alto. 2010, Palo Alto Children’s Theater.
• Composition and Electronic Music Instruction, Palo Alto. 2013-2014. Violin Instruction, Boston 2002-2003, Private Instruction.
• Violin Instruction, Oshkosh 1995-1998, Private Instruction.

Research Experience

• Director of Max Lab (prototyping lab) at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford Univerty (2016-2017).
• Postdoctoral Research Associate in the School of Information: Science, Technology and Arts, University of Arizona. Artist/Researcher in The Creative Coding Lab (2013-2014)

Awards, Residencies & Commissions

• Grant & Commission, Norweigen Arts Council Composition Grant for Percussion & Electronics work, Alta, Norway, 2020.
• Award, Stanford Art of Science Exhibition, Third Prize for Fluor Sonoescence, Stanford, CA 2020.
• Grant & Commission, Art Vapo Grant for Nortem, Norwegian Education Department Artistic Research Program, Tromso, Norway, 2019.
• Grant, AHI Standard Grant, University of Iowa, Iowa City, Iowa, 2016.
• Fellowship, Grant Wood Fellow and Visiting Assistant Professor, Music Department University of Iowa, Iowa City, IA (2015-2016).
• Commission, A Solitude of Expanse for Rasmuson Artist Awards Ceremony, Anchorage, AK (2014).
• Residency & Commission, #chronicled for The Fourteenth Biennial Symposium on Arts and Technology by The Ammerman Center, Connecticut College, 2014.
• Commission, filo for piano and electronics, pianist Kevin Chau, Tucson, AZ (2014).
• Commission, v->t->d for saxophone, electronics and live video processing, saxophonist Kelland Thomas, Tucson, AZ (2013).
• Commission, Fish Affected By Dreams for viola and electronics, violist Shannon McCue, Santa Barbara, CA (2012).
• Recipient, Graduate Division Dissertation Fellowship, University California, Santa Barbara (2011).
• Recipient, Doctoral Student Travel Grant, University California, Santa Barbara (2011).
• Recipient, Humanities & Social Sciences Research Grant, University California, Santa Barbara (2011).
• Residency, High Concepts Laboratory, Chicago, IL (2011).
• Recipient, susone selected for performance at Italian Association of Musical Informatics XVII, Turin, IT (2010).
• Commission, In Vitro Oink for piano, electronics and wii-remote, pianist Keith Kirchoff, Boston, MA (2010).
• Residency, Kimmel Harding Nelson Center for the Arts, Nebraska City, NE (2009).
• Recipient, Interdisciplinary Humanities Center Media Arts Award, University California, Santa Barbara (2009).
• Recipient, 1st Prize Corwin Chamber Music Competition, University California, Santa Barbara (2008).
• Recipient, 1st Prize Corwin Chamber Electronic Music Competition, University California, Santa Barbara (2007).
• Commission, susone for trombone and electronics, trombonist Mark Broschinsky, New York (2006).
• Recipient, 1st Prize Piano Department Contemporary Music Competition, New England Conservatory (2005).
• Recipient, Merit Award, New England Conservatory (2003-2005).

Related Activites

• Guest Lecture on Technology & Composition at Georgia Southern University, Statesboro GA, USA, 2020.
• Juror for SIGGRAPH’14. Washington DC, USA, 2020.
• Guest Lecture on Nortem for ARcTic Sustain - Let Vibrate Ensemble at True North Academy, Tromso, Norway, 2020.
• Round Table participant in Collaboration and Communication Across Spaces at MutekSF, San Francisco, 2019.
• Guest Lecture Translation & Activation in 5 works at The Arctic University Museum of Norway, Troms Norway, 2019.
• Guest Lecture on Creating & Sustaining a Career as a Composer at UCSB, Santa Barbara, CA, 2019.
• Guest Lecture at Malloy College, Long Island, NY 2019.
• Guest Composition Lessons at Temple University Philadelphia, PA 2019.
• Guest Lecture for Design & Technology Class at New School New York, NY 2019
• Composition Reviewer for Sound Music Computing (SMC), Limassol, Cyprus, 2018.
• Reviewer for SIGGRAPH 2018, Vancouver, Canada, 2018.
• Review board for public art in Palo Alto, Palo Alto, CA, 2017.
• Judge for Musicacoustica 2017, Beijing Conservatory, China, 2017.
• Reviewer for SEAMUS 2016, Georgia Southern, Georgia, 2015.
• Reviewer for IEEE VISAP. Chicago, IL. 2015.
• Reviewer for SEAMUS 2015, Virginia Tech, Virginia, 2014.
• Juror for IEEE VISAP. Paris, France. 2014.
• Core-Four member of The Light Brigade, an Anchorage based artist collective, creating site-specific works. http://aklightbrigade.com/ 2014-15.
• Organized concert in conjunction with literacy program at Palo Alto Children’s Theater, Palo Alto, CA. 2010.
• Initiated and curated Student Composers Concert Series overseeing technical and logistical matters for three concerts a year, University of California, Santa Barbara. 2006-2009.
• Chaired bi-monthly Composition Forum, inviting guest lectures and moderating discussion, University of California, Santa Barbara. 2006-2009.
• Co-Organized Pioneers of Electronic Music Conference, overseeing technical and logistical matters for concerts and talks by; Max Mathews, John Chowning, Jean-Claude Risset, Clarence Barlow, Curtis Roads and JoAnn Kuchera-Morin. University of California, Santa Barbara. 2009.
• Organized Pescadome Concert Series at local art space, Santa Barbara, CA. 2006-2007.
• Producer/Announcer of weekly radio program on KSTK 101.7 FM, Wrangell, AK. 2006.
• Student Liaison for Music In Education National Consortium, co-designing the digital portfolio system for The New England Conservatory, Boston, MA. 2004-2005.
• Business and Artistic Director for Wild Whip Records, managing logistics of an independent record label, Boston, MA. 2003-2004.
• Founding member of USS Composers a new music student organization, University of Wisconsin, Oshkosh. 1996-1998.

Collaborative Works

• Hypnosphere, a personal immersive light and sound dome (2018).
  Collaborators: Christopher Jette (sound & ambisonic speaker array) & Joseph Barker (immersive dome & lighting)
• Blind Spot, a Butoh Hiphop Dance with live and fixed electronic sound and video projection (2017).
  Collaborators: Christopher Jette (sound) & Michael Sakamoto (dance & video)
• Carbonic Clouds, a series of ink on paper prints capturing live sound (2016).
  Collaborators: Christopher Jette (sound & design) & Terry Conrad (print & design)
• cmetq, a one man operatic stage work with fixed & live electronics with video projection (2016).
  Collaborators: Christopher Jette (compostion & story/libretto), Nathan Krueger (baritone & story/libretto) & Alejandro Casazi (video).
• Follow the Light, an interactive sound and light sculpture installed at Elderberry Park as part of the Anchorage Centennial Celebration (2014/2015).
  Collaborators: Christopher Jette (sound, production & design), Scott Pugh (technical & design), Bruce Farnsworth (production) & Sheila Wyne (design & production).
• Tunnel Vision, six projectors mounted on the side of an Alaska Railroad car to project immersive film/sound piece on the interior of a 11.6 mile tunnel for Anchorage Pitch of a Train event (2014).
  Collaborators: Christopher Jette (composition & design), Michael Walsh (film), Bruce Farnsworth (production) & Sheila Wyne (technical).
• #chronicled, a real-time concert review and composition explanation presented on typewriter (producing tweets) and cellphone (producing long format essay). Each instrument is used to produce sound with cus- tom software. The audience hears the sound piece, reads the cellphone essay on their own cellphone and the tweets via video projection (2014).
  Collaborators: Christopher Jette (design, software & performance) & Keith Kirchoff (design & performance).
• v− >t− >d improvised saxophone were translated into a score with custom software and the visual component of the resulting performance of the saxophone and electronics composition is translated via custom software (2014).
  Collaborators: Christopher Jette (composition & sound software), Kelland Thomas (saxophone), Javier Villegas (visual software) & Angus Forbes (visual software).
  
• "In Their Turn", Created soundtrack for a 45 minute film (2013).
  Collaborators : Christopher Jette (composition) & Michael Powell (2013).
• LasuDax, Two voice motets of Lassus are realized with custom score following software and daxophone. 3D printed vocal tracts physically filter the sound to produce the latin vowels of the original score (2014).
  Collaborators: Christopher Jette (composition/performer/software) & John Granzow (performer/instrument design).
• SoundLines, Realtime sonification of dance via video capture (2011).
  Collaborators: Christopher Jette (composition & software) & Katherine Hawthorne (choreography & dance).
• The Electro-Acoustic Piano, an album of piano and electronics on Thinking outLOUD Records (2011).
  Collaborators: Christopher Jette (composition, recording & cover art), Keith Kirchoff (pianist) & Dan VanHassel (composition & recording).
• Metamorphosis, a play presented at The Palo Alto Children’s Theater (2011).
  Collaborators: Christopher Jette (composition & performance), Betsy Franco (author), Rafa Kopotowski (director) & Judge Lucky (production).
• F.A.T./LAB, choreographed culinary experience bringing sound, food and visual art together. A one-time dinner presented at The Santa Barbara Contemporary Arts Forum (2010).
  Collaborators: Christopher Jette (composition), Alejandro Casazi (projection) & Joel Chapman (chef).
• Amazing Stories, sound/video composition exploring sonic and visual language of 1950’s sci-fi, presented at in Something You Dont Know, Media Arts & Technology Art Show, University of California, Santa Barbara (2010) & The Palo Alto Children’s Theater (2010).
  Collaborators: Christopher Jette (composition), Angus Forbes (video).
• Cell Tango, algorithmic visualization and sonification of user submitted photos, presented at Laurence Hall of Science, Berkeley, CA (2009) & Mediations Biennale Exhibition, Poznan, Poland (2010).
  Collaborators: Christopher Jette (sonification), Angus Forbes (visualization) & George Legradey (design).
• Retratro, installation featuring 16−channel audio and 4−screen projection, presented at Something for Everyone, Media Arts & Technology Art Show, University of California, Santa Barbara (2009).
  Collaborators: Christopher Jette (composition), Alejandro Casazi (video).
• Empatheia Ballare, installation utilizing balloons as transducers for audience perception of sound piece, presented at Santa Barbara Contemporary Art Museum (2009) & Artbo Gallery, Bogota Columbia (2011).
  Collaborators: Christopher Jette (composition), Alejandro Casazi (installation & design).
• Lungen, multilayered stage work using dance, live drawing and electronic music, presented at The Multi-Cultural Center, University of California, Santa Barbara (2009).
  Collaborators: Christopher Jette (composition & performance), Bianca Brigidi (design) and Alejandro Casazi (live drawing), Ekaterina Zharinova (dance).
• Readings From the Beaches of Troy, a diffused, interactive and outdoor setting of Trojan Women, presented at The Primavera Festival, University of California, Santa Barbara (2008).
  Collaborators: Christopher Jette (design & performance), James Orsher (design & performance), Salman Bakht (typewriter performance).
• Daiku, audio-visual digital haiku, presented at Los Angeles Biennial (2009) & Santa Barbara Art Museum (2008).
  Collaborators: Christopher Jette (sounds), Alejandro Casazi (video).
• Waldorf Statlir, improvised electronic music duo, Santa Barbara, CA (2007-2009). Collaborators: Christopher Jette (laptop), Nick Wymbs (no-input mixer).
• BeerAdvertising, electronically prepared piano, turntables soprano & projection reinterpret 1950’s beer jingles, Boston, MA (2005).
  Collaborators: Christopher Jette (electronically prepared piano), Andrew Bisset (turntables), Rachel Wanderi (soprano) & Beth Lahey (projection).
• Sofater, video, sound and guided improvisation, Boston, MA (2005).
  Collaborators: Christopher Jette (fixed electronics & guided improvisation score), Julie Avallone (bass clarinet), & Mark Gleicher (video).

Professional Memberships

• American Society of Composers, Authors and Publishers (ASCAP).
• International Computer Music Association (ICMA).
• The National Association of Composers, USA (NACUSA).
• Society for Electro-Acoustic Music in the United States (SEAMUS).

Performances of Note

• Psionic : Beijing Conservatory, Beijing, China, 2017.
• UnmooredJetty : Aalto University, Espoo, Finland, 2017.
• cmetq : Riverside Theater, Iowa City, Iowa, 2016.
• utuquq : Sitka Performing Arts Center, Sitka, AK, 2015.
• Dalince De Omer : Bunnell Street Arts Center, Homer, AK, 2015.
• Frisson3 : Telematic concert & Highrise Light Display, Anchorage, AK, 2015.
• Luminesant Trajectories : Sweet Thunder Festival, San Francisco, CA, 2014.
• FeedbackTree : Contagious Sounds Series, New York, New York March 2013
• SoundLines : CCRMA Stanford University, April 2011.
• susone : AIMI XVIII, Turino Italy, October 2010.
• In Vitro Oink : University of York, York England, April 2010.
• Cell Tango :   Mediations Biennale Exhibition, Poznan Poland, September 2010.
• ChitemBre Blu : The Tank, New York City, March 2009.
• UnStaFectu : The Wine Cellar, Auckland New Zealand, February 2008.
• TphubonV : Jordan Hall, Boston MA, November 2004.
• susone : Manhattan School of Music, New York, September 2008.
• Inter : Lotte Lehman Hall, Santa Barbara, November 2009.
• aiOrbPljectanes : Bethany Lutheran Church, Seattle WA, May 2006.
• Snapshots : Milwaukee Youth Arts Center, Milwaukee WI, August 2005.
• Circle: Fontainebleau Castle, Fontainebleau France, July 2004.

 

Academics

PhD Dissertation

• "Musical form as an interaction of algorithmic and manual compositional strategies: An analysis of Curtis Roads's Never"
  • Clarence Barlow - Chair
  • Curtis Roads - Committee Member
  • JoAnn Kuchera-Morin - Committee Member

Education

• University of California Santa Barbara : PhD candidate, Music Composition (2006-2012).
• New England Conservatory : Masters of Music, Music Composition with honors and Music In Education Emphasis (2003-2005).
• University of Wisconsin Oshkosh : Bachelor of Arts,  Music Performance (violin) (1993-1998).