Michael was born in Cheshire, England, in 1968. He studied oboe and later composition at Bristol University with Adrian Beaumont. He began his teaching career at the age of 22 at Dartington College of Arts and has been active as a university teacher ever since. In 1991, Michael emigrated to California for further studies in computer music with John Chowning at Center for Computer Research in Music and Acoustics (CCRMA), Stanford University. In 1995 he lived in Paris at the Cité Internationale des Arts, and worked at IRCAM in the Pompidou Centre.
After finishing his doctorate at Stanford in 1996, he worked as a consultant software engineer in Silicon Valley, developing a Document Recognition System that is now in use in several US hospitals and in the process of being patented. He was also concurrently Lecturer in Music Theory at Stanford until in 1997 came the offer of a Guest Professorship for Music and the Internet at the Universität Mozarteum Salzburg, Austria. At the Mozarteum, Michael teaches classes in Algorithmic Composition, Programming Techniques, and Web Design and also led the development of the university's web site from 1997-2000.

His compositional interests lie presently in the development of algorithmic composition structures for instrumental music and the integration of these within similarly generated computer-processed sounds.

more info:www.michael-edwards.org

MARCO TREVISANI
Marco Trevisani was born in Verona, Italy, on the last day of carnival. He basically spent his musical life between Milan, Vienna, San Francisco, New York, and now the Caribbean. He has a degree in architecture, and spends his time sitting in front of a computer or the Caribbean sea.

Trevisani’s musical life began when his father caught him trying to smash the piano keyboard at the age of three. At six he made is first performance by throwing a toy piano from a fifth floor balcony. His experimental art was not completely understood by the older generation. He is convinced that 440Hz must be a pitch close to the note A, as his teachers tried to explain to him in Milan, Vienna, and San Francisco. They were so right that he decided to fill the piano with all kinds of objects, just to contradict them. So now the A key is far from being 440Hz. His piano playing sounds more like a set of 88 percussions filtered through a computer, so the listener never knows who’s playing what: a human, a piano, a percussion instrument, a computer. Trevisani does not know either. He writes for what could be called computer music theatre.

He now spends his life travelling back and forth between Italy, Puerto Rico and Cuba, carrying a small suitcase full of alligator clips, pieces of wood and plastic, which are hard to justify at airport security checks as well as to piano owners at concert halls.

more info: www-ccrma.stanford.edu/~marco/