Born in the mid-70's in Bellevue, Washington, Stephen Lilly is a graduate of the University of Maryland, the Lionel Hampton School of Music, Kamiakin High School, Desert Hills Middle School, and Sunset View Elementary. He has been variously referred to as a...
Here, Stephen has three degrees and a certificate of attendance. For the latter, he spent a year at the Institute of Sonology in The Hague, immersing himself in computer programming, digital and analog electroacoustics, and bicycling. Most of his music is scored for chamber ensembles (everything from solo violin to a sextet for soprano, alto flute, clarinet, violin, violoncello, contrabass, and seven poems) and often includes signal processing or computer generated sounds. Theatricality, language, and abstraction are themes that continually resurface in his work. Stephen enjoys placing the spotlight on aspects of musical performance that are often ignored or taken for granted: hall acoustics, stage presence, ensemble communication, etc. Stephen has written works for CoMA Bristol (Contemporary Music for All), the DMC (Devil May Care) Duo, saxophonist Steven Leffue, soprano Stacey Mastrian and has worked closely with a collective of composer-performers he helped found, the Bay Players. He has also created collaborative compositions with Michael Boyd and Steve Wanna. An in-depth look at his approach to computer programming is available in Organised Sound (Vol. 13, No. 1; the accompanying DVD includes Stephen’s statics: convergence), and a description and analysis of his installation Melt are available in Performance Research (Vol. 8, No. 6).
New Music Performer
Stephen has premiered works by Michael Boyd, Philip Schuessler, and Steve Wanna. He has been featured on concerts and festivals from organizations such as American Composer’s Forum, SEAMUS, and Sonic Circuits. He currently performs (bass, closed piano, percussion, rocks…) with the likes of Stacey Mastrian and the Bay Players. His new music stylings recently accompanied the choreography of Tzveta Kassabova at the American Dance Institute presentation of Left of Green, Fall.
Stephen has played both upright and electric bass with a cornucopia of illustrious unknowns including Bucko-Bunny-Meister and the Flapjack Special, Ommadawn, TAFKA Dervish, Moscow Chamber Orchestra, The Washington-Idaho Symphony Orchestra, The Palouse Jazz Conspiracy, Not Too Shabby, C9, Lugnut, Dyslexic Head, The Charlie Bezilla Band, and NGB. When he can, he plays a Carvin LB76 through a Ampeg SVT-III Pro. He current performs and records with These Quiet Colours.
Stephen has recorded demos for Alarms and Controls, Andy Poxon Band, Brad Linde Ensemble, Brad Linde Quartet, harpist Cara Fleck, The Idle Americans, Janel and Anthony, Lena Seikaly, Low End String Quartet, The Mauls, Memories from the Space Age, Rodney Richardson Trio, Franklin County Band, soprano Stacey Mastrian, and The Tryads. Published examples of his work include Michael Boyd’s Bit of nostalgia… on SCI CD No. 26 Axiom (Navona Records) and Nathan Lincoln-DeCusatis’s Shadow Remix on Noah Getz Still Life (Albany Records).
Stephen has taught courses in music theory, ear training, recording, mixing, mastering, post production, and broadcasting. Stephen has taught at Art Institute of Washington, Catholic University, George Mason University, Towson University and the University of Maryland College Park. He has also been invited to lecture on his compositional and theoretical work at Appalachian State University, Chatham University, Hartwick College, Gettyburg College, and St. Cloud State University in addition to the national conferences of SEAMUS and CMS.
Specializing in electroacoustic music, Stephen uses statistical and spectrographic analysis to explore works that do not have traditional scores. He has given lectures on the work of Wesley Fuller, James Dashow, and Agostino Di Scipio, and his writings have been published in Perspectives of New Music, Computer Music Journal, and even included on the Capstone DVD Radial Matrix: Multi-dimensional Electroacoustic Music.