DANIEL ASIA, born in Seattle, WA in 1953, has been the recipient of the most competitive 
grants and fellowships in music including a Meet The Composer, Reader's Digest 
Consortium Commission, United Kingdom Fulbright Arts Award Fellowship, a Guggenheim 
Fellowship, four NEA Composers Grants, a M. B. Rockefeller Grant, an Aaron Copland Fund 
for Music Grant, McDowell Colony and Tanglewood Fellowships, ASCAP and BMI 
composition prizes, and a DAAD Fellowship for study in the Federal Republic of Germany. 
RIVALRIES, for orchestra, was a semifinalist in the Friedheim Competition of the 
Kennedy Center, 1986. As Elliott Hurwift writes in his Schwann Opus review of the 
composer's KOCH International Classics release, IVORY, 'Daniel Asia is a genuine creative 
spirit, an excellent composer,... He is a welcome addition to the roster of our strongest 
group of living composers.'

Sacred and Profane, is an electro-acoustic music cycle of five works lasting forty-five 
minutes. The title takes its origination from one way of dividing the nature of the 
universe, and as well as that of time. Most specifically, it can define the time of the day 
of rest (the Sabbath), from the rest of the seven days (the profane). In a musical context, 
it describes, or alludes to sacred moments that are set up, by the more profane moments 
of the piece. In this extensive work, it is used to describe the origination of the basic 
materials of the five pieces, as well as a general framework for understanding the 
various pieces. At the same time, there are clear moments of the sacred in the profane 
pieces as well. This is a mirroring of the awesome aspects of the natural world.

Three of the works, An Awesome Silent Fire, Like Smoke Towards Heaven, and Cry (Your 
Cry Will Be a'Whisper 2), are drawn from the sayings of Rabbi Nachman of Bratislav, a 
leader of the Hassidic movement in Poland of the 18th Century. These texts were used 
for their poetic imagery, and the words (or word), as spoken by Kip Haaheim, are the sole 
materials of these three pieces. These pieces represent for us, a human search, or 
striving for the divine. Thus, the sacred aspect of this work.

Kip Haaheim completed his doctorate in Music Composition at the
University of Arizona.  He obtained his masters degree at the University
of Minnesota.  His interest in music and technology began at California
State University, Hayward in the early 1970s with one of the first
Buchla synthesizers and has bloomed in the last few years with the
recent advances in personal computing digital audio.  In the San
Francisco Bay Area during the 1980s he owned and operated a computer
based MIDI studio where he composed music for film and dance while
playing Avante Garde Jazz (and Heavy Metal - under an assumed name of
course).  He also produced recordings for and performed with a variety
of Jazz and Pop artists.  So far this year he has completed one
commission for the electronic percussion ensemble ìCrosstalkî and
another for tenor saxophone and digital audio playback.  After receiving
some acclaim for his sci-fi soundscape for the multi-media installation
ìThe Red ëOtherí - the ëOtherí Redî last year he accepted a commission
to provide the audio environment for Carol Flaxís interactive
installation ìVoyagesî which will begin a two year tour this summer.
Dr. Haaheim is currently an adjunct faculty member at the University of
Arizona in Tucson teaching Computer Music Composition, Orchestration,
and 20th Century Music Theory.