"Christopher Fox (born 1955 in York) is an English composer.

He studied at the universities of Liverpool, Southampton and York, where his teachers included Hugh Wood and Jonathan Harvey. He received a PhD in composition from the University of York in 1984. From 1984 to 1994 he was a member of the composition staff at the Darmstadt New Music Summer School. He is currently Professor in Music at Brunel University, a post he took up in 2006. His music is widely performed, broadcast and recorded. He is also a prolific writer on music. In addition to concert works, Fox has collaborated with artists on gallery works, and with the poet Ian Duhig on a "musical box".

An important aspect of Fox's music is its stylistic breadth-whilst his principal considerations may seem to be with systems music and adopting a systematic approach, his music also serves a political function, is deeply rooted in the post-war Darmstadt traditions of applying psychological and intellectual models to the structure and content of music and at the same time exists in a world of diverse musical attitudes, including references to the popular arts, to historical music and to cross-cultural music. The stylistic range of his works is very aurally apparent and includes complex microtonal chamber works, large-scale modernist ensemble pieces, tape cut-up collages and minimalistic pieces for guitars and saxophones.

His writings on music have also been published widely, in the journals Contact (of which he was an editor), Contemporary Music Review, Musical Times and Tempo, and deal principally with new music, in particular experimental, minimalist and complex tendencies in American and European music. He was co-editor of Von Kranichstein zur Gegenwart (1996, DACO Verlag, Stuttgart), a history of 50 years of the Darmstadt Ferienkurse, and of Uncommon Ground: The Music of Michael Finnissy (1998, Ashgate Press, Aldershot)."

"Elisabeth Flunger, born in Bolzano (Italy) lives in Vienna and is a percussionist, performance artist, sound artist and composer. She studied musicology and ethnology at the University of Vienna and classical percussion and composition at the University of Music and Performing Arts in Vienna. From 2005 to 2016 Elisabeth Flunger lived in Luxembourg.

As a percussionist for contemporary music she has worked as a soloist and with ensembles such as Klangforum Wien, die reihe, Ensemble des 20. Jahrhunderts, Ensemble Kontrapunkte, Ensemble OnLine, Ensemble Lucilin.

1987-91 duo with pianist Johannes Marian. Improvisation, indeterminate music, graphic scores.

1987-90 les guetteurs de sons percussion duo in collaboration with Lukas Schiske, occasionally also as a quartet with Martin Breinschmid and Eggert Pálsson.

1991-94 Chroma duo with Hannes Löschel, compositions for piano and percussion, improvisation, performance.

1994-98 duo with singer Margarete Jungen.

After the birth of her daughter Ada, she increasingly concentrated on improvised music and has since played with numerous musicians, dancers and writers throughout Europe, e.g. with Sylvia Bruckner, Karlheinz Essl, Hannes Löschel, Jorge Sanchez-Chiong, Elliott Sharp, Kazuhisa Uchihashi, Elisabeth Harnik, Soizic Lebrat, Ute Wassermann, Susanna Gartmayer, Thomas Berghammer and many others.

Long-term collaborations connect her with

Inge Kaindlstorfer and David Ender (luxflux),

Cordula Bösze, Ute Völker, Stefan Scheib and Katharina Bihler (The Green Noise, The Big Noise),

Chris Janka and Edgar Friedl (Trio bimm or BAM),

Tomás Tello (Duo ET),

Lee Patterson, Emmanuelle Pellegrini and Emilie Borgo (Croquer les fougères).

With the dance and music collective Damen-Improvisation & HerrenBIGbäng she realized performances in theatres and in public spaces.

In collaboration with LUCILIN 2008-2010 in Luxembourg she organized the ear studio concerts for improvised and experimental music.

From 2011 to 2015 she hosted the regular improviser's session and soup in her house in Luxembourg.

Elisabeth Flunger also works as a musician, composer and performer in theatre and dance productions, at Burgtheater, Akademietheater, and Volkstheater in Vienna, with Rose Breuss, Tanz*Hotel, DamenImprovisation & HerrenBIGbäng, LuxFlux, and the Compagnie Veronika Riz.

Her most recent installations are the collective video installation The Green Noise, the Tinnitus Scenes, 12 miniatures with objects and mini loudspeakers, and the musical marble run, which she keeps setting up in different versions and places.

In the context of music and art mediation, she holds lectures and workshops on improvisation and composition for children, amateurs and professional musicians, among others, as part of the Klangnetze in Vienna, at the Vienna Künstlerhaus, at the Moers Jazz Festival and with the Orchestre Philharmonique du Luxembourg.

In her (non-scientific) humorous lecture performances, she uses her music to examine how language and images, expectations and ideas manipulate the perception of reality (Sound and Appearance, Ceremony, Meeting).

Elisabeth Flunger's favourite instrument is a collection of trash metal objects, used in concerts, installations and performances. For this instrument she created a series of solo pieces and developed appropriate playing techniques, not using traditional percussion techniques, but rather working the objects by physical and spatial manipulation: pile up, crash down, arrange, put, move, push, throw, pull, swing, rock, shake ...

In the chaos of the disordered material, movement and repetition generate figures and patterns similar to music. Music becomes a game where natural principles like chaos, random, gravity and resistance play an important role producing surprise and suspense. They generate a situation whose destination is unforeseeable, a project opposed to the ordinary (music and life) concept of sureness, control and efficiency."

"Born Cambridge, England, in January 1980; played bass guitar since 1994; studied with Hugh Boyd and Pascha Milner and at Basstech (London) with Rob Burns, Terry Gregory and others. Played double bass since 2001; basically self taught, with grateful thanks to Simon H. Fell. First class BA in English Literature from Oxford University (2002). Received MA Composition from Oxford Brookes University in 2003, having studied with Paul Whitty, Ray Lee and others. Received PhD from Brunel University in 2010, having studied the work of Derek Bailey, Helmut Lachenmann and JH Prynne and been supervised by Richard Barrett and John Croft."

"Kathryn Williams is a flautist who performs solo recitals, chamber music, and with orchestras with a particular interest in new and experimental music. Recent performances include a Stockhausen masterclass with Kathinka Pasveer at Theater Basel, solo and chamber music performances with Ensemble Linea Academy at Cité de la musique et la danse Strasbourg, and a concerto with Manchester Camerata. She has performed with various orchestras including the BBC Philharmonic, The Hallé, Royal Liverpool Philharmonic, and Sinfonia Cymru and plays regularly with new music group The House of Bedlam. Kathryn's current project, Coming Up for Air, has been selected for YCAT's Sounding Board: Project Mentoring.

As a music educator Kathryn specialises in experimental performance practice and early-years education. Recently this has included guest lecturing at the Royal Northern College of Music, contributing to courses with Aldeburgh Young Musicians, delivering performances and workshops for Live Music Now, and long-term residencies at Alder Hey Children's Hospital, Manchester Museum and in a central Manchester nursery school.

Kathryn earned a BMus, MMus, and International Artist Diploma from the Royal Northern College of Music with teachers Peter Lloyd, Richard Davis, Katherine Baker, Stephen Preston, Karin de Fleyt and others. Prizes include RNCM Bach Prize, RNCM Concerto Competition (on two occasions), British Flute Society Young Artist Competition, and National Foundation for Arts Award (USA)."