Ian Dicke

Ian Dicke
Assistant Professor

DMA, The University of Texas

Email: ian.dicke@ucr.edu 
Phone: (951) 827-2176
Office: ARTS 147

Website: www.iandicke.com

Ian Dicke (b. 1982) is a composer inspired by social-political culture and interactive technology. Active in a diverse array of genres and multi-media, Dicke’s music exhibits a clarity of expression while integrating acoustic ensembles with cutting edge audio processing techniques. Praised for his “refreshingly well-structured” (Feast of Music) and “uncommonly memorable” (Sequenza 21) catalogue of works, Dicke currently serves as an Assistant Professor of Digital Composition at the University of California, Riverside.

Dicke’s music has been commissioned and performed by ensembles and festivals around the world, including the New World Symphony, Alarm Will Sound, the Cabrillo Festival Orchestra, ISCM World New Music Days, and the Atlantic Coast Center Band Director’s Association. Dicke has received grants, awards, and recognition from the Fulbright Program, San Francisco Conservatory of Music, New Music USA, New York Youth Symphony, ASCAP, and BMI, among others. He has been an artist in residence at the Atlantic Center for the Arts, Art342, and spent the 2012-2013 academic year living in Sweden as a Fulbright scholar researching interactive musical interfaces and environments.

In addition to his creative activities as a composer, Dicke is also the founder and curator of the Outpost Concert Series in Riverside, CA and is a former co-director of Fast Forward Austin. Both organizations are dedicated to presenting adventurous music and fostering community engagement through key outreach initiatives and collaborative projects.

Dicke holds degrees from The University of Texas at Austin (D.M.A), University of Michigan (M.M.), and San Francisco Conservatory of Music (B.M.). For more information on works in progress, upcoming performances, commissioning, and score rentals, please visit www.iandicke.com.

ORCHESTRA

Stockholm (2015) for orchestra, 10’
commissioned by the Georgia Institute of Technology

Catchphrase (2015) for DJ and orchestra, 6’
commissioned by the New World Symphony

86’d (2014) for countertenor and chamber orchestra, 10’
commissioned by Alarm Will Sound

Grand Central (2012) for chamber orchestra, live audio processing, and video projections, 20’
commissioned by the San Francisco Conservatory of Music

Assembly Lines (2011) for chamber orchestra, 6’30”
commissioned by the Detour New Music Ensemble

The Lunatic Fringe (2009) for chamber orchestra and pre-recorded voices, 15’

Wind-Up (2007) for orchestra, 7’
commissioned by the Cabrillo Festival Orchestra
 

WIND ENSEMBLE

Flash Mob (2011) for wind ensemble, 7’
commissioned by the Atlantic Coast Conference Band Director’s Association

Song of the Telegraph (2010) for wind ensemble, 14’
 

SMALL ENSEMBLE and SOLO

Counterpundit (2016) for piano, video, and live audio processing, 20’
commissioned by Piano Spheres

Cowboy Rounds (2016) for piano, voice, and live audio processing, 30'
commissioned with funding through the Hellman Foundation

Latest and Greatest (2016) for flute, violin, trombone, piano, vibraphone, and video, 18’
commissioned by the Barlow Endowment for Music Composition

Postlude (2015) for piano, 3’
written for David Conte’s 60th birthday

Adrift (2014) for early music ensemble, live electronics ensemble, and video projections, 14′
commissioned by the Vasa Museum

Unmanned (2013) for string quartet and live audio processing, 10’
commissioned by the Friction Quartet

O Bury Me Not (2013) for bass trombone, chamber ensemble, and live audio processing, 10’
commissioned by the New World Symphony

Straphanger (2012) for tenor and baritone saxophones, 8’
commissioned by a consortium directed by Ogni Suono

Isla (2012) for flute, vibraphone, and live audio processing, 6’
commissioned by the Peterson/Hayes Duo

Miriam (2012) for a mixture of treble and bass instruments, 5-10’
commissioned by The Junk Kitchen

Eight Oh Eight (2011) for solo percussion and live audio processing, 8’
commissioned by Adam Groh, project coordinator, Justin Alexander, Jason Baskin,
Tim Briones, Luke Hubley, Scott Quade, Owen Weaver, and Andrew Worden

Two Takes Three (2011) for clarinet, violin, violoncello, and piano, 6’
commissioned by Redshift

Missa Materialis (2010) for percussion quartet or trio, 16’
commissioned by Line Upon Line and Owen Weaver

Musa (2010) for violin, trombone, and live audio processing, 8’
commissioned by Molly Emerman and Steve Parker

Drill, Baby, Drill (2010) for three saxophones and fixed media, 5’
commissioned by the Sissy-Eared Mollycoddles

Afghan Blues (2009) for flute, clarinet, violin, violoncello, piano, 7’30”

Déjà (2009) for two pianos, four pianists 15’
commissioned by Regina Schaffer

Snake Oil Salesman (2009) for tenor, violoncello, bass clarinet, drum set, 5’30”
commissioned by the Sissy-Eared Mollycoddles

Get Rich Quick (2009) for piano and fixed media, 10’30”

Chapter One, Page One (2008) for solo flute and live audio processing, 7’30”
commissioned by Daniel Buscher

White Parasol (2008) for piano solo, 8’30”

Profiteering (2006) for two bass clarinets, 8’
commissioned by Sqwonk

Press Play! (2005) for alto saxophone, electric guitar, electric bass, electric piano, drum set (optional), 7′
 

FIXED MEDIA

Outside the Easy Sway of Either-Or (2007) for fixed media, 4’

Ranaat Eek (2006) for fixed media, 1’

Schism In Your Ism (2006) for fixed media, 4’


 

 

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