Open Gate Presents :The Sunday Evening Music Series November 5th, Sunday 7:00, 2023
Set One)  Matthew Goodheart (solo) grand piano – prepared piano – transducer-actuated gongs and cymbals

Set Two) Matthew Goodheart, Vinny Golia (stritch – wind and or reed instruments), Michael Dessen (Trombone), and Garth Powell (drums and percussion)
at   
The Neighborhood Unitarian Universalist Church
(- in the Sanctuary) 301 N. Orange Grove, Pasadena
Tickets: $10  ($5 students, seniors, and series performers)

Bio for Matthew Goodheart:
Matthew Goodheart is a composer, improviser, sound installation artist, and educator who has developed a wide body of work that explores the relationships between sound and sound production, instrument, and listener. His diverse creations range from large-scale microtonal and spatial compositions to open improvisations to immersive sound installations, all unified by the analytic techniques and performative methodologies he has developed to bring forth the unique and subtle acoustic properties of musical instruments.
His work emerges directly from his experience as a performer, which began as an improvising pianist in the fertile Bay Area music scene of the 1990s. With a background in jazz, classical music, and written composition, he began at an early age working directly with such artists as Glenn Spearman, Wadada Leo Smith, Pamela Z, Cecil Taylor, Pauline Oliveros, Zen Widow (with Gianni Gebbia and Garth Powell), Rova Saxophone Quartet, and sfSoundGroup. As his career expanded both domestically and internationally, he became compelled by the interrelationship between instrument design, acoustics, and compositional/ improvisational constraints. Working closely with David Wessel at the Center for New Music and Audio Technologies (CNMAT) at UC Berkely, he developed an electroacoustic practice dubbed “reembodied sound,” which analyzes and samples individual acoustic instruments, imports the data into a variety of software environments to synthesize signals tailored to the specific properties of the source instrument. The results are then recursively played back into the original instruments through surface transducers, causing them to resonate autonomously. Pursuing the possibilities inherent in this recursive technique have provided new directions to his work for over a decade, finding its expression in electroacoustic chamber compositions, algorithmically determined improvisation structures, site-specific sound installations, and fixed-media work.
Goodheart’s work has been featured throughout the North America, Europe, and Asia in such diverse festivals and venues as Neue Musik Köln, MaerzMusik, New York Electroacoustic Music Festival, Estate Fiorentine, Performing Media Festival, The International Spectral Music Festival, Infrequent Seams Streamfest, June in Buffalo, Klappsthulfest, Jazz Ao Centro, The Illuminations New Music & Arts Festival, NIME, Harvestworks, and many others. His numerous awards and honors including the Berlin Prize in Music Composition, a Civitella Ranieri Fellowship, and a Fulbright Grant to the Czech Republic where he worked with the historic quartertone pianos designed by Alois Hába. His work is featured in Craig Vear’s recent book The Digital Score. His extensive discography includes over 15 albums to his name, and he appears on many others.