Nathaniel Haering is deeply interested in the use of live electronics to expand the artistic capabilities of traditional instruments and augment their timbral horizons while enriching their expressive and improvisational possibilities. This perspective is also highly influential and represented in the gestural power and extended sound worlds of his purely acoustic work. He has collaborated with and had works performed by Grammy Award-winning Vietnamese performer and composer Vân Ánh Võ, Trio Accanto, Ensemble Mise-En, Mivos Quartet, and members of WasteLAnd, Ensemble Ipse, and Ensemble Dal Niente. Winner of the 2019 ASCAP/SEAMUS Student Award and the mixed media Award of Distinction from MA/IN festival in Matera, Italy, Nathaniel’s work can also be found on Volume 27 and 29 of Music from SEAMUS. Nathaniel’s pieces have recently been featured at the International Computer Music Conference in Shanghai, China, and Seoul, South Korea, the Toronto International Electroacoustic Symposium in Toronto Canada, Noisefloor Festival at Staffordshire University UK, VIPA in Valencia Spain, WOCMAT in Taiwan, CMSS Festival in Seoul, South Korea, SEAMUS 2019 Conference at the Boston Conservatory at Berklee, and numerous other international venues. Nathaniel is pursuing a PhD in Music Composition at the University of California San Diego.
Medical Text p. 57 is an aggressive, virtuosic, and remarkably vulnerable piece crafted around selections of text found in the educational tome Cyclopædia of Practical Medicine Vol. 1 published in 1845.
The chapter that this piece addresses is on the topic of age and its effects on the body through multiple stages of life, beginning with nascent burgeoning growth and advancing to the eventual unerring onset of decay. This piece manipulates the coherence of text and plays off of humanity’s want to comprehend speech in voices, often crafting phonemes and consonants that are similar to speech but contorting them beyond understanding. When juxtaposed with recognizable text and married with a plethora of timbre driven gestures and extended vocal techniques, smooth transitions between nonsense and meaningful text help to drive the piece through continuums of obfuscation and clarity.