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Alvin Lucier (1931–2021) bol americký skladateľ, kľúčová postava experimentálnej hudby a sound artu. Vo svojej tvorbe sa sústreďoval na fyzikálne vlastnosti zvuku, akustické javy, rezonanciu priestoru a vzťah medzi zvukom, telom a technológiou. Je autorom zásadných diel 20. storočia, ktoré presúvajú pozornosť od hudobného materiálu k procesu počúvania. V 80. rokoch 20. storočia začal písať skladby pre sólové nástroje, komorné súbory a orchester.

Fero Király je hudobník, kóder a pedagóg so slabosťou pre interdisciplinárne projekty. Je spoluzakladateľ podujatia JAMA a Združenia ooo. Hoci je známy najmä ako klavírny interpret súčasnej vážnej hudby (Philip Glass, Steve Reich a.i.) a člen združenia Cluster ensemble, sólovo sa zaujíma o digitálne technológie, sound art a rôzne presahové umelecké formy.

Eva Vozárová je dramaturgička, performerka, výskumníčka a kultúrna manažérka v slobodnom povolaní. Spoluzakladala umelecké združenie ooo a projekt JAMA v kontexte osobnosti Milana Adamčiaka, v rámci ktorých sa venuje kurátorskej a autorskej činnosti v oblasti soundartu a intermediáneho umenia.

Steve Reich (1936) patrí k najvplyvnejším skladateľom 20. a 21. storočia. Spolu s Philipom Glassom, La Monte Youngom a Terrym Rileym patrí k zakladateľským postavám hudobného minimalizmu. Nosným prvkom jeho tvorby je postupný fázový posun rytmických vrstiev. Túto techniku objavil experimentovaním s magnetofónovými páskami v 60. rokoch. Vznikli z nej skladby ako It’s Gonna Rain (1965) alebo Piano Phase (1967), ktoré zmenili pohľad na to, čo všetko môže byť hudba.

Inšpiráciu nachádzal aj mimo európskej klasickej tradície — študoval západoafrické bubnové hudby v Ghane, zaujímal sa o gamelan na Bali a o židovskú liturgickú kantiláciu. Výsledkom je hudba, ktorá je zároveň prísne štrukturovaná a živo pulzujúca. Skladby ako Music for 18 Musicians (1976) alebo Different Trains (1988) patria dnes ku kánonickým dielam súčasnej vážnej hudby.

Na Slovensku sa Reichovej hudbe venoval súbor Cluster ensemble. Pod umeleckým vedením Ivana Šillera a Fera Királya uviedol medzi rokmi 2009 a 2019 niekoľko slovenských premiér Reichových diel, medzi inými a skladbu pre šesť klavírov Six Pianos (1976) na legendárnom koncerte v dnes už neexistujúcom obchode s klavírmi MADA na Medenej ulici v Bratislave 15. júna 2009.

Gordon Monahan (1956) tvorí diela pre klavír, reproduktory, video, kinetickú sochu a počítačové zvukové prostredia presahujú do rôznych žánrov – od avantgardnej koncertnej hudby až po multimediálne inštalácie a sound art. Ako skladateľ a zvukový umelec kladie do vzájomného kontrastu kvantitatívne a kvalitatívne aspekty prírodných akustických javov s prvkami mediálnych technológií, prírodného prostredia, architektúry, populárnej kultúry a živej performancie. Okrem zvukových inštalácií a performancií v oblasti sound artu komponuje aj koncertnú hudbu pre tradičné nástroje. John Cage o ňom raz povedal: „Za klavírom Gordon Monahan vytvára zvuky, aké sme ešte nepočuli.“
Od roku 1978 Monahan vystupoval a vystavoval v mnohých verejných priestoroch, múzeách, galériách a na festivaloch, vrátane Hamburger Bahnhof (Berlín), Bienále v Benátkach, Secession (Viedeň), Ultima Festival (Oslo), Hebbel Theater (Berlín), The Kitchen (New York), Walker Art Center (Minneapolis), Merkin Hall (New York) a Massey Hall (Toronto).

Elia Moretti (1986) is a composer, performer, and researcher exploring the performativity of sound and listening as critical tools within contemporary music theatre. In his interdisciplinary practice, he creates site-specific and participatory projects that intertwine sound, movement, and objects.

In Slovakia, he has worked as curator of the Carpathian New Wave series in Prešov and co-initiated the Symposium Musicum project for the UM UM festival in northern Spiš – later released by the independent label mappa.

His work moves between radio, theatre, and dance, with projects presented throughout Europe. As an educator, he focuses on listening as a relational and transformative act that transcends the boundaries of music.

Tom Johnson (1939–2024) was an American composer, music theorist, and journalist — one of the leading figures of the second generation of minimalists. A student of Morton Feldman, he was active in New York in the 1970s, becoming an important part of the city’s experimental scene. His work is characterized by precise logical structures, conceptual simplicity, and a sense of humor. Johnson created music based on numbers, combinatorics, and mathematical principles, transforming them into surprisingly poetic musical forms. Among his best-known works are An Hour for Piano, Nine Bells, Rational Melodies, and The Chord Catalogue. From 1983 onward, he lived in Paris, where he continued his compositional, publishing, and performance activities.

Emilie Škrijelj (1987) explores the accordion in its smallest folds and uses it both as a percussion instrument and a generator of electroacoustic materials. Inspired by her research around the turntable, modular synths and field recording, she brings the accordion to the abstract territory of electronics by manipulating the bellows, rubbing its contours and exploring its extremities.
www.emilieskrijelj.com

Michael Thieke (1971) is a Berlin-based clarinetist, composer, and performer who is equally at home across a broad range of musical environments. He is exploring the minutiae of sound, timbre and noise, with a particular interest in microtonality and related sound phenomena. The qualities of slowness are another field of his research. He has a preference for long-term collaborations and collective work. Thieke has performed throughout Europe, Asia, and the Americas, and his recordings appear on more than fifty releases.
www.michael-thieke.de

Tom Malmendier (1984) approaches improvisation as the natural and central foundation of his musical practice. He is drawn to transdisciplinary projects and often collaborates with dancers, visual artists, and poets.
www.tomalmendier.com

Marek Kundlák (1981) studied theatre dramaturgy and works across a wide spectrum of artistic expression – from writing librettos, texts, and translations to theatre dramaturgy and directing, performing, composing music for theatre, film, and concert settings, playing experimental instruments, as well as cooking, gardening, and woodworking. He has created and performed in Slovakia, the Czech Republic, Austria, Germany, the Netherlands, the United Kingdom, Hungary, and Italy. He has worked with the Opera of the Slovak National Theatre and is currently a music dramaturg for spoken-word programming at Slovak Radio.

Matej Sloboda (1988) is a Slovak composer, musician, and conductor. He studied composition in Bratislava, Graz, and Vienna, and took part in exchange programs at the Universität der Künste in Berlin and the California Institute of the Arts in Santa Clarita, USA. He is the founder of the acclaimed project EnsembleSpectrum and one third of the experimental music collective Critical Band.

Michal Matejka (1977) performs with the bands Ankramu and Škvíry a Spoje, focusing on the possibilities and extended techniques of electric guitar playing, free improvisation, and contemporary song-writer music.

Štefan Szabó (1988) is the author of music for several theatre and dance performances. He performs solo as well as an improviser and composer in the duo Ranjevš & Óbasz and the trio KIN.

Kurt Schwitters (1887–1948) was a German artist, poet, and avant-garde pioneer associated with the Dada movement. He developed his own branch of Dada, which he called Merz, based on the use of found objects and the beauty of chance and everyday life. He also gave the same name to the art magazine he founded and edited during the 1920s and 1930s. His work encompassed collage, objects, architecture, poetry, and performance. He was active in Hanover, where he created the legendary Merzbau by continually transforming the rooms of his family home at Waldhausenstrasse 5 – a project that grew over several years like a living organism. Before the Second World War, he emigrated to Norway, and later to England.

Vojtěch Šembera (1995) is an experimental vocalist, composer, and opera singer. He focuses on the interpretation and composition of contemporary vocal music, free improvisation, and song repertoire ranging from the Middle Ages to the present day. He has performed at festivals such as New Opera Days Ostrava, Exposition of New Music, Dag in de Branding, Sanatorium Sonorum, and the Venice Biennale, where he co-performed pieces by Fero Király as part of Oto Hudec’s Floating Arboretum project. He is one of the few performers in the (Central) European context capable of studying and performing (by heart) the legendary Ursonate by the German Dadaist Kurt Schwitters.