Cody Kauhl is a composer and multimedia artist that pairs found sound and video with the intimacy of the human voice. His work has been performed at international and national festivals and conferences including the International Computer Music Conference and Society of Electro-Acoustic Music in the United States. He is currently artist-in-residence at the Charlotte Street Foundation Studio Residency Program. Cody graduated in 2011 with a B.M. in Music Theory/Composition at Southern Illinois University Edwardsville and received his M.M. in Music Composition at the University of Missouri – Kansas City in 2015.
Cody regularly collaborates with choreographers and visual, spoken word, and performing artists. He has had his work played at the Florida State University Festival of New Music, Center of Cypriot Composers, MUSLAB, Sacramento State Festival of New American Music, Metanast, Hot Air Music Festival, New Horizons Music Festival, Gallery MC, Nelson-Atkins Museum of Art, Kansas City Art Institute, Electronic Music Midwest, Bang! Festival, Noisefloor, Electroacoustic Barn Dance, Animation Block Party, Great Plains Regional Tuba and Euphonium Conference, Kansas City Electronic Music and Arts Alliance, and Kansas City Fringe Festival. As a composer, Cody has worked with a variety of ensembles including the PRISM Quartet, the Boston New Music Initiative, the Black House Collective, UMKC Musica Nova, SIUE Wind Ensemble, Concert Band, and Percussion Ensemble, and the University of Nebraska - Lincoln Donald A. Lentz Concert Band. He has studied under Kimberly Archer, Rome Prize winners James Mobberley and Paul Rudy, and Charles Ives Living Award winner Chen Yi. Cody acted as composer-in-residence at the Kimmel Harding Nelson Center for the Arts in February 2014 and at the Brush Creek Foundation for the Arts in February 2015. His work can be found on Ablaze Records. Download or view his CV here.
As an electronic composer/multimedia artist, I record and then delicately arrange inconspicuous or disregarded sound sources, producing an intimate human agency from otherwise lifeless objects. By doing so, I reinterpret the sound saturation of daily life as a liberating yet introverted experience. The resulting product often juxtaposes the delicate and visceral, the intricate and sparse, while maintaining an unabashed intimacy throughout. I conceive the development of these works as a linear transformation, much like an extended crossfade between two film scenes.
Another critical component of my art practice utilizes data-driven instruments. When preparing to create a new composition, I develop programs that read information retrieved by accelerometers, webcams, and infrared cameras in order to create expressive musical instruments or sound modifiers. By creating new methods of human computer interaction, I endeavor to perform with electronics with as much physical expressivity and audience interaction as any acoustic instrument.