Faculty

Thomas Handman (Tom) Lopez

Thomas Handman (Tom) Lopez

Associate Professor of Computer Music and Digital Arts
Chair, Composition and Technology in Music and Related Arts (TIMARA)

Professor of TIMARA

TIMARA Professor Tom Lopez tells us how new technology makes it possible for composers to manipulate audio and video in real timeā€”and then he shows us, using his own video profile as the raw material.

Contact Information

E-mail:


Office:
Bibbins Hall - Studio 8
(440) 775-8748

Educational Background

  • BA, Oberlin College (1989)
  • MFA, California Institute of the Arts (1993)
  • DMA, University of Texas at Austin (2000)


Honors, Awards, and Fellowships:

Received honors, awards, and fellowships from the Fulbright Foundation, National Endowment for the Arts, Meet the Composer, Mid-America Arts Alliance, Knight Foundation, Disney Foundation, ASCAP, National Institute for Technology and Liberal Education, Midwest Instructional Technology Center, Bascom Little Fund, and Oberlin's Faculty Award for Teaching Excellence.

Professional Affiliations:

Affiliated with the Society of Composers, Inc. (former member of executive committee), Texas Computer Musicians' Network (former president), American Society of Composers, Authors and Publishers, Society for Electro-Acoustic Music in the United States (former band member), International Computer Music Association, Fulbright Alumni Association, American Composers Forum, College Music Society, and the American Music Center, Electronic Music Foundation, Cleveland Composers Guild, and Living Music Foundation (board member).

Residencies and Appearances:

Festivals:

Monaco International Dance and Media (Monte Carlo)

Imagine (Memphis, Tennessee)
Interactive Futures (Victoria, Canada)
Beyond Media (Florence, Italy)
404 (Rosario, Argentina)
Spark (Minneapolis, Minnesota)
Ingenuity (Cleveland, Ohio)
Electrospective (Ann Arbor, Michigan)
AKI (Cleveland, Ohio)
Plugged In (Sydney, Australia)
Discoveries (Aberdeen, Scotland)
Future Moves (Rotterdam, Netherlands)
MAVerick (Chicago, Illinois)
New Op 8 (Montréal, Canada)
Matisse et le Mouvement (Biot and St. Jeannet, France)
LIving Arts (Tulsa, Oklahoma)
New Music Today (Peoria, Illinois)
SXSW (Austin, Texas)
Encontros Acarte (Lisbon, Portugal)
Nuova Musica Consonante (Bucharest, Romania)
LA Freewaves (Los Angeles, California)
 
Venues:

Diapason Gallery (New York City)
Pigman Gallery (San Francisco, California)
Movements Gallery (Austin, Texas)
Here Here Gallery (Cleveland, Ohio)
Rx Gallery (San Francisco, California)
Musée d'Art Moderne et Contemporain (Nice, France)
Victoria Arts Center (Melbourne, Australia)
Artspace (New Haven, Connecticut)
Performance Art Warehouse (Austin, Texas)
Synergy Studios (Austin, Texas)
Electric Lounge (Austin, Texas)
Allen Memorial Art Museum (Oberlin, Ohio)
Miller Theatre (New York City)
Zocalo Theater (Houston, Texas)
Hyde Park Theater (Austin, Texas)
Kennedy Center (Washington, D.C.)
Symphony Space (New York City)
Aronoff Center (Cincinnati, Ohio)
Duke Theater (New York City)
The Egg (New York City)
The Laban Centre (London, England)
conferences:
Body/Machine (Toronto, Canada)
American Solar Energy Society (Cleveland, Ohio)
Symposium for Arts and Technology (New London, Connecticut)
 
Conferences:
Body/Machine (Toronto, Canada)
American Solar Energy Society (Cleveland, Ohio)
Symposium for Arts and Technology (New London, Connecticut)

Radio:
3RRR (Melbourne, Australia)
CFRO (Vancouver, Canada)
CKLN (Toronto, Canada)
CKUT (Montréal, Canada)
KAJX (Aspen, Colorado)
KPBX (Spokane, Washington)
KUT (Austin, Texas)
KVRX (Austin, Texas)
WCLV (Cleveland, Ohio)
WCNY (Syracuse, New York)
WGDR (Plainfield, Vermont)
WOBC (Oberlin, Ohio)
WOMR (Provincetown, Massachusetts)
Acoustic Frontiers (Ontario, Canada)
Fronteras del Silencio (Buenos Aires, Argentina)
Inner Space (Zagreb, Croatia)
Resonance (London, England)
Sonar Map (Everett, Washington)
 

Commissions:

Commissions include "Espaces Pointillés" for Oberlin Conservatory flautist Kathleen Chastain premiered in Cleveland, Ohio; "Via Métro I" by saxophonist David Rice premiered in Paris, France; "Acoustmatic" for Counterstream Radio premiered online; "Auxiolio & Au Secours" for videographer Anita Pantin premiered in Barcelona, Spain; "La Joie de Vivre" by choreographer Yvette Coquoin premiered in Nice, France; "acre" and "again again" for choreographer Brian Brooks premieres in New York City; "Hollow Ground I" by choreographer Yacov Sharir premiered at The Kennedy Center, "Hollow Ground II" premiered in Rotterdam, Netherlands, and "Hollow Ground III" premiered in Austin, Texas; "Dancing on the Atlantic" for choreographer Mike Barber premiered in Portland, Oregon; "Currents and Streams" for Repertory Dance Theatre premiered in Salt Lake City, Utah; "Aspect Ratio#" for choreographer Celesta Haraszti premiered in Bowling Green, Ohio; "She Measures Herself" for Oberlin College choreographer Elesa Rosasco premiered in Cleveland, Ohio; "Curvatures" and "This Body of Knowledge" for Oberlin College choreographer Nusha Martynuk premieres in Oberlin, Ohio; and "Robo City" for Austin Children's Museum.

Publications:

Scores, CDs, and DVDs available from First Wave Music Publishing (www.firstwavemusic.org).
CD release of "The Death of the Moth" on Centaur Vol. 37 (www.centaurrecords.com)
CD release of "Hollow Ground II" on SEAMUS Vols. 7 (www.seamusonline.org)
CD release of "Curvatures" on SEAMUS Vol. 12 (www.seamusonline.org)
CD release of "Dirge for Déjà Vu" on SEAMUS Vol. 17 (www.seamusonline.org)
CD release of "Moth" on Vox Novus 2003 (www.voxnovus.com)
CD release of "17,987,457,480" on Vox Novus 2005 (www.voxnovus.com)
CD release of "Hollow Ground II" on Capstone SCI Vol. 21 (www.societyofcomposers.org)
 

Published Review:

New York Concert Review, Spring 2008, Anthony Aibel

Tom Lopez's Immaculata Erotica is one of a kind.  It is astounding and riveting throughout.  The mysterious opening had the players cloak their instruments and disguise heavily amplified, discreet physical activity (rubbing, scraping), which produced sounds that were raw, earthy and profane.  When instruments are unveiled and eventually played somewhat traditionally, a harmonic language is born, one of sparkling, almost celestial beauty.  The well balanced surround sound speakers brought power and depth to the rapturous climax.