http://elizabethlanganderson.com/
Elizabeth Anderson’s artistic production comprises acousmatic, mixed, and radiophonic works as well as works for multimedia and sound installations, and has been performed in international venues for over thirty years.
It is the fascination with space, whether on the scale of the universe (macrocosm) or cellular life (microcosm), and the expression of this realm through sound, that is among her primary motivations for choosing to compose with electroacoustic techniques. She sees in this medium a rich and powerful way not only to convey to the listener these opposite realms and their strong complementarities, but also to share with the audience her imaginary world which she translates and develops through her music.
Elizabeth Anderson’s music has been honored in international competitions: ASCAP-SEAMUS (USA, 2001), Bourges (France, 1994), CIMESP (Brazil, 1995, 2001, 2003, and 2007), Città di Udine (Italy, 2004), Métamorphoses (Belgium, 2004), Musica Nova (Czech Republic, 2008, and 2015), Noroit-Léonce Petitot (France, 1998), Stockholm Electronic Arts Award (Sweden, 1994), TIME (2002), and Pierre Schaeffer Competition of Electronic Music (Italy, 2007). She has received commissions from the Groupe de recherches musicales (GRM, France), Musiques & Recherches (Belgium), and La chambre d’écoute (Belgium).
Underlying her creative and pedagogical approach is her research on the perception of electroacoustic music from a poietic and esthesic perspective, to which end she conceived models to explore the meaning of electroacoustic music as constructed by the composer and the listener. Her research has been published in Komposition und Musikwissenschaft im Dialog VI (2008, Verlag Der Apfel, Vienna, Austria), in Le monde sonore de / The sound world of / Die Klangwelt des François Bayle (2012, Verlag Der Apfel, Vienna, Austria), in Kompositionen für Hörbaren Raum (2015, Musik und Klangkultur, Germany), in the online music journal Musimédiane (2015, France) and most recently in Realidad de la virtualidad / Virtualidad de la realidad (2021, Mexico).
Elizabeth Anderson developed a complete curriculum for electroacoustic composition at the Académie de Soignies (Academy of Soignies, Belgium) from 1994 to 2002, which was a pilot program subsidized by the ministry of Communauté française de Belgique. She is currently a professor in the department of electroacoustic music at ARTS2 / École Supérieure des Arts, Mons, Belgium where she teaches multiphonic acousmatic composition and the semiology of electroacoustic music.
Radiating across her compositional output and her pedagogical and organizational activities is a heightened commitment to the communicational power of electroacoustic music to the wider world. For example, she organized a concert series devoted to acousmatic music in ’s-Hertogenbosch (The Netherlands) in April 2016.
Elizabeth Anderson received a Bachelor of Arts degree in music (1982) from Gettysburg College (Gettysburg, Pennsylvania, USA) and a Master of Music in composition (1987) from the Peabody Institute (Baltimore, Maryland, USA). She travelled to Brussels (Belgium) in 1987 to pursue a diploma in instrumental composition at the Conservatoire royal de Bruxelles (Royal Conservatory of Brussels), and while exploring instrumental techniques discovered electronic music. In 1993 she completed a Final Diploma in electronic music composition at the Koninklijk Conservatorium Antwerpen (Royal Conservatory of Antwerp, Belgium) followed by a First Prize and a Superior Diploma in electroacoustic composition at the Conservatoire royal de Mons (Royal Conservatory of Mons, Belgium) with Annette Vande Gorne in 1994 and 1998 respectively. She earned a doctorate in electroacoustic composition with Denis Smalley at City University London (England, UK) in 2011. Funding for her doctorate was provided by an Overseas Research Scholarship as well as subsidies from the Fondation SPES and the BFWG Charitable Foundation.
In March 2022, she was elected as a full member of the Class of Arts at the Royal Academy of Belgium.