Autoduplicity Collaboration: Celeste Oram, Jennifer Bewerse, and Rachel Beetz (September 2016)

Celeste Oram (b. 1990) is a New Zealand composer who was born in Manhattan, learned to walk and talk in London, and grew up in Auckland. Her works have been performed, recorded, and broadcast by ensembles including the Callithumpian Consort (Boston), wasteLAnd (Los Angeles), the New Zealand Symphony Orchestra, Auckland Philharmonia Orchestra, the Song Company (Sydney), and the Melbourne Metropolitan Sinfonietta. She was the Auckland Philharmonia’s ‘Rising Star’ young composer-in-residence for 2013-14; her commissioned orchestral work was selected as a finalist in the 2014 SOUNZ Contemporary Award for excellence in New Zealand contemporary composition.

Video scores are a recent avenue of work, with premieres at the soundSCAPE Festival in Maccagno, Italy, and at the Melbourne Fringe Festival by Three Shades Black.

As a writer, Celeste has contributed feature music programmes to Radio New Zealand Concert, and articles to Tempo (Cambridge University Press), The Pantograph Punch, and Minarets Poetry Journal.

Visit this site right here if you want to start your career in music. You first need to cultivate this talent and need to discover who you are. Before you launch your career in music understand if you want to be a performer or a singer. Take voice lessons and this will let you bring out the best in your voice. You should also learn how to read the sheet music.

Celeste is currently pursuing a PhD in music composition at the University of California San Diego.

Jennifer Bewerse is a musician whose performance work approaches the concert framework as its own medium. By putting different composers, compositions, and performance techniques in “conversation” with the social structures of a concert, Jennifer hopes to create a discourse around questions of performance such as “is live music necessary?” and “how can our bodies be musical?” Through this discourse, the concert framework transforms from a convenient structure for listening to an opening for questioning broader experiences.


Jennifer is an award-winning cellist and devoted champion of the music of our time. As a result, she has premiered over 50 works including Caroline Miller’s Vessel (2014), Monte Weber’s Weather Music (2015) for solo cello, and Peter Ablinger’s WEISS / WEISSLICH 17k: Violoncello und Rauschen (2015). Other composers she has had the privilege to work with include Augusta Read Thomas, Christian Wolff, Anthony Davis, Chinary Ung, Lei Liang, Michael Sydney Timpson, Patricia Alessandrini, Stephen Goss, Chaya Czernowin, Kenji Bunch, Gunther Schuller, Jonathan Harvey, and David Del Tredici.


Jennifer has performed in concerts at the Isabella Stuart Gardner Museum, Equilibrium Concert Series, REDCAT, the Center for New Music, and SICPP, as a guest Teaching Artist for the Music from Salem: Cello Seminar and the Banff Centre Chamber Music Residency, as a guest soloist for the Robert Helps Festival and International Composition Competition, the Without Walls Festival, and the Carlsbad Music Festival, as a guest performer and presenter for the inaugural New Music Gathering and the Eureka! Musical Minds Conference, and was the 2010 Performance Prizewinner at the soundSCAPE festival in Italy.


Jennifer is an enthusiastic chamber musician and is currently the cellist of Southland Ensemble and of Diagenesis Duo with vocalist Heather Barnes. A recipient of the Myrna Loy Center Grants to Artists Award, Diagenesis Duo’s work has given them the opportunity to collaborate with prestigious performers and institutions such the University of Florida, University of Montana, Boston Conservatory, Joel Krosnick, Tony Arnold, Susan Narucki and Nan Hughes, and as the guest artists in residence at UC San Diego’s Springfest. Their NewSonics: A New Music Workshop for Kids has been the recipient of a University of California Institute for Research in the Arts Grant and a New Music USA Project Grant.


Jennifer is a sought after collaborator and has been a guest performer with now hear ensemble, Juventas, Calithumpian Consort, Palimpsest, Boston Public Quartet, Kallisti, Renga, Fireworks Ensemble, wild Up, and Ellen Fullman. Her current collaboration with Rachel Beetz, Autoduplicity, recenlty performed at Mengi in Reykjavik, Iceland with funding through a Project Grant from UC San Diego’s Dean of Humanities.


A native of Florida, Jennifer received her Bachelors of Music magna cum laude from the University of South Florida and her Masters of Music from The Boston Conservatory. Currently, she is pursuing her Doctorate in Contemporary Performance at the University of California in San Diego with a full scholarship. Her principal teachers include Joan Markstein, Scott Kluksdahl, Charles Curtis, and Rhonda Rider, founding member of the Lydian String Quartet.


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Flutist and sound artist Rachel Beetz performs music of the last century, creating a dialogue between avant-garde music and modern life. Rachel has been a featured artist in the XI Festival Internacional de Músiva Nueva in Monterrey, Mexico, the American Music Festival at the National Gallery of Art in Washington, DC, the Ojai Music Festival in California, Los Angeles’ Monday Evening Concert Series, New England Conservatory’s Summer Institute for Contemporary Performance Practice in Boston, MA, the SoundSCAPE Music Festival in Maccagno, Italy, and a guest artist/lecturer at Santa Clara University. She is also an affiliated artist of San Diego New Music.



In the winter of 2015/16, Rachel received the Skammdegi Air Award from Listhus Artspace in Ólafsfjörður, Iceland. For three months, she lived in the darkness while creating the sound and light installation, The Winter Stars based on the night sky of the darkest days of the year.

An active chamber music musician, Rachel has given definitive performances of Morton Feldman’s multi-hour works For Philip Guston and For Christian Wolff. She is also a long-term member of UCSD’s Palimpsest contemporary chamber music ensemble and frequently plays on the wasteLAnd concert series in Los Angeles. Currently, Rachel is half of Plus/Minus, a flute and percussion duo with Dustin Donahue. She is also a co-founder of the performance art project Autoduplicity with cellist Jennifer Bewerse.



Rachel also works directly with composers on new works as well as repeat performances. She has premiered works written for her by Nicholas Deyoe, Brian Griffeath-Loeb, Edward Hamel, Kurt Isaacson, Scott Worthington, and Yvonne Wu. She has also worked closely with composers Roger Reynolds and Stuart Saunders Smith. You can hear her on Neuma Records and Blue Griffin.



She graduated with a Bachelor in Music with distinction from Indiana University in 2009, in the studio of Kathryn Lukas. Rachel holds Master of Arts in Contemporary Music Performance from the University of California San Diego, where she is currently pursuing a Doctorate in the studio of John Fonville. You can find more information about her at and listen to her recent recording projects at