The About Things.

JP Lempke’s works unashamedly embody the absurd, out-of-place, and purely bizarre. Unphased by his quirky style, renowned performers and groups like Philippe Spiesser, Juanjo Llopico, Kanae Mizobuchi, Unassisted Fold, and Oh My Ears have brought his strange soundscapes to life. His works have been performed throughout Europe, Asia, and the United States at events like the SEAMUS National Conference, RADIA, Forum Wallis, the International Computer Music Conference, Electroacoustic Barn Dance, and others. He is a winner of the American Guild of Organists Student Commissioning Project, as well as a nominee for the Destellos Foundation Electroacoustic and Video-Music Competition.

In 2020, he became the executive director of the Eugene Difficult Music Ensemble, which seeks to unite area academic and non-academic experimental music communities through regular performances of new music and commissioned works. He initiated the Eugene Garbage Project within EDME the same year. As a theorist, his papers on subjects pertaining to music of the last thirty years have been presented at conferences throughout the United States and Canada.

Mr. Lempke earned his BM in Composition and Piano Performance with Pedagogy at the University of Nebraska – Kearney and his MM in Composition at Arizona State University, where he operated as the co-director of the laptop orchestra. Currently, he is completing a DMA in Data-Driven Instruments alongside a concurrent Masters in Music Theory at the University of Oregon. His instructors are Darleen Mitchell, Anthony Donofrio, Jody Rockmaker, Garth Paine, Kotoka Suzuki, and Jeffrey Stolet. He publishes with Leading Tones Music, LLC.

Like many human beings, JP Lempke eats, sleeps, and wear glasses, traits that none of his colleagues find remarkable. Being a native to small-town Nebraska, he also understands how land is meant to be square and dedicated solely to agriculture. However, since moving to Phoenix, Arizona a few years back, he also holds the opinion that, in limited circumstances, land can be un-square and left in its natural state. JP's music is a chunky blast o' fun that sounds like a lawn mower chewing up an unreasonably large pile of chicken cutlets while Lady Gaga plays in the background...well, at least some of the time (what do YOUR neighbors do?). Mostly, he just thinks he's funny and/or wants to upset the audience with sudden, unprepared changes. Also, blocks of material are cool. Having experienced a childhood deprived of eight-track players, he is now obsessed with old technology, sometimes incorporating devices like reel-to-reels, analog televisions, and cassette players into pieces as instruments in their own right.

 

Given the above information, it is perhaps equally unremarkable that JP likes to study new music as a theorist, obsessing over how to properly analyze form in works devoid of important pitch structures or reliable rhythms. He has also looked into rhythm and meter in sound masses.

 

His life as a pianist and electronic musician has given him a wealth of opportunities: Opportunities to bang out cluster chords on the keys, opportunities to detune pianos by hitting the strings repeatedly without remorse for ten minutes, opportunities to scream into microphones about death and darkness. When he's not drowning this sad, sad world in new music, he also plays them good-ole hits. In fact, his Modern Chopin piano series is currently bringing in-home concerts to Phoenix-area residents. He has been the co-director of the Laptop Orchestra      of Arizona State and a member of the Arizona Contemporary Music Ensemble.

JP's works have been performed at the Society of Electroacoustic Musicians National Conference; the Society of Composers, Inc. Region VII Conference; and the Delian Academy for New Music in Mykonos, Greece. He got his Bachelor of Music in Composition and Piano Performance with Pedagogy at the University of Nebraska -- Kearney in 2016 and his Master of Music in Composition at Arizona State University in 2018. He has studied with Valerie Cisler for piano; Darleen Mitchell, Anthony Donofrio, Jody Rockmaker, Garth Paine, and Kotoka Suzuki for composition; and Kristina Knowles for theory.

JP Lempke’s works unashamedly embody the absurd, out-of-

place, and purely bizarre. Unphased by his quirky style,

renowned performers and groups like Philippe Spiesser, Juanjo

Llopico, Kanae Mizobuchi, Unassisted Fold, and Oh My Ears

have brought his strange soundscapes to life. His works have

been performed throughout Europe, Asia, and the United

States at events like the SEAMUS National Conference,

RADIA, Forum Wallis, the International Computer Music

Conference, Electroacoustic Barn Dance, and others. He is a

winner of the American Guild of Organists Student

Commissioning Project, as well as a nominee for the Destellos Foundation Electroacoustic and Video-Music Competition.


In 2020, he became the executive director of the Eugene Difficult Music Ensemble, which seeks to unite area academic and non-academic experimental music communities through regular performances of new music and commissioned works. He initiated the Eugene Garbage Project within EDME the same year. As a theorist, his papers on subjects

Photo by Domenico Nicosia

Photo by Domenico Nicosia

pertaining to music of the last thirty years have been presented at conferences throughout the United States and Canada.

Mr. Lempke earned his BM in Composition and Piano Performance with Pedagogy at the University of Nebraska – Kearney and his MM in Composition at Arizona State University, where he operated as the co-director of the laptop orchestra. Currently, he is completing a DMA in Data-Driven Instruments alongside a concurrent Masters in Music Theory at the University of Oregon. His instructors are Darleen Mitchell, Anthony Donofrio, Jody Rockmaker, Garth Paine, Kotoka Suzuki, and Jeffrey Stolet. He publishes with Leading Tones Music, LLC.

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