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The Daxophone Consort presents John Cage's "Ryoanji" in collaboration with Alvin Lucier.

Kara-Lis Coverdale performs new solo work exclusively on the pipe organ at First Unitarian Congregational Society, a Hutchings organ registered with the New York City branch of the American Guild of Organists. Driven by a patient devotion to space, Coverdale’s compositions exist between erudite computer music and acoustic melancholy, seen in her hybrid organ and piano works mediated by electronics and digital interfaces.

Philadelphia-based producer LXV performs a long-form grouping that expands upon his recent interests in varying forms of rhythmic texture and sculpting fields of sound out of processed human voice and sampled and synthesized media.

Josh Sinton presents krasa, a series of investigations exploring the amplification and sound magnification of the contrabass clarinet

Charmaine Lee presents an improvised trio performance featuring id m theft able (voice, objects) and Andrea Pensado (voice, electronics). Together, the trio demonstrates the dynamic nature of the voice, celebrating the human spirit in all its wonder and absurdity.

For her inaugural residency performance, 2019 Artist-In-Residence Charmaine Lee premieres “Laminals,” the first of three movements of a new long-form piece for solo voice. Using the organic instrument as a vehicle for synthetic creation, this movement investigates the possibilities of both the grotesque and beautiful qualities that emerge from a mechanical treatment of the human voice.

Dominique Deryris performs Christine Groult's "A chaque fois qu’une étoile explose…" (2018), "Mi ritrovai per una selva oscura" (2018), and "La condition captive" (2003) for the first time in the United States.

Philadelphia-based duo Metasplice presents new work, showcasing a shifting sonic space existing between electronic free improvisation and live post-production techniques.

Lucie Vítková presents "Experimental Folklore Piece," an extraction of elements of Czech and Slovak folklore, represented by accessories such as a carved wooden ax, an overtone flute made out of plastic pipe, dance, and singing. Vítková combines these elements and accompanies them with feedback which sonifies the artist's movement.

Matana Roberts debuts a new iteration of her “I Call America” series, an open-ended mixed media exploration of a sound framework she has been working on since 2015, with previous iterations staged at The Whitney Museum of American Art and Fridman Gallery. Roberts is joined by at least two other sound makers and the performance will feature various modes of improvisation, text, projections that function as a score, and more.

Suzanne Langille stages a new performance focusing on the human voice as an instrument, and conversely on the instrument as an expression of the essence of the human voice. The performance includes emotive singing and speaking, contrasted with throat singing and overtones (Neel Murgai), interlaid with improvisational guitar (Loren Connors) and saxophone (Daniel Carter) -- all masters of their respective instruments.

Haley Fohr of Circuit des Yeux presents “Wordless Music,” a recent work for solo voice that Fohr describes as “a simple concept -- one microphone, and one voice.”

Wetware thrives on unease, with Roxy Farman’s prowling, anxious vocalizations ranging from deadpan poetics to humming, whispering, and screeching. Matthew Morandi’s tense sound design -- at-once decidedly abstract and constantly visceral -- establishes a truly alien sonic backbone that exists at the edges of rhythm. The result is an uncompromising, dystopic sound -- like “street garbage caught in an updraft -- using both technology and the human voice and body to create a “devastating portrait of a society in peril.”

Shelley Hirsch and Marcia Bassett reprise their collaborative performance after a first meeting at the monthly Abasement series earlier in 2018. A compelling amalgamation of Hirsch’s virtuosic command of extended vocal techniques with Bassett’s shimmering, dense, and often dissonant arrangements, the duo yields an expansive sound that weaves freely between their respective practices.