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 In News, Schedule

22 October, 2018 (Monday)

Concert Series (1)

Convergence: The Opening Concert

20:00-21:00 (Recital Hall, CCoM)

1. On the Excenter of a Blind Spot – for piano, video and electronics (6’30’’/2016/China Premiere)
Composer/Pianist/Video Artist: Yuanyuan (Kay) HE (China)

On the Excenter of a Blind Spot, for Piano and electronics, was inspired by the famous children’s book Alice in Wonderland by Lewis Carroll. The story tells of a girl named Alice falling through a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. It seems like a simple fairy tale, but it goes much deeper than that. Carroll describes a struggle with self-identity in a very controlled existence, which is conducted by a series of bizarre events. Feeling lost becomes a recurring theme in the book as Alice regularly expresses uncertainty about who she is after she enters Wonderland.

In my piece, the piano, electronic music, and video all become increasingly more distorted until they collapse. The scene becomes a hallucination. In Alice’s story, she discovers the world through uncertainty and self-questioning. Her whole world is based on an experience of hallucination. Hallucination is a mental disorder in some traditional conceptions, but hallucination also often reflects the nature of the mind, perception and our knowledge of the world. How do we perceive the world? Is it an existence of a series of hallucinations?

2. MexiColorNoise – for video and electronics (7’30’’/2014/China Premiere)
Composer: Elsa Haydée JUSTEL (France/Argentina)

Markets crammed with multicolored hues, music of agitated rhythms, cantilena street vendors, and skirts fluttering to the sound of tap dancing. A world full of noise, color, light and movement. So is Mexico.

3. Luminous – for sax and electronics (10’15’’/2016/Beijing Premiere)
Composer/Saxophone: Mark ENGEBRETSON (USA)

Inspired by visual artists like Ólafur Elíasson, whose many projects investigating light are ever-beautiful essays in rich, luxurious, pulsating, and richly colorful environments, I have sought in several compositions to capture a soundscape that imagines sound as a kind of light-filled musical object. Some examples are Acrylic Waves and Oceans of Brightly Colored Glass (Glitter ing Like Diamonds in the Tropical Sun) and the present work, Luminous. This piece, for solo tenor saxophone and electronic sounds that are distributed through audience members’ own smart phones or devices, is perhaps the most successful, at least in the attempt to create a light-filled musical environment. In three sections, the related first and third parts push a gently shimmering progression of chords through what becomes an immersive, multi-channel diffusion of amplification devices. The performer sends fragments of the overlaying melody out through the devices, creating what becomes, in effect, a spatialized digital delay effect, with sounds appearing at different times in changing locations. In the middle section, the saxophonist plays alone, sending all of the instrumental part to the audience’s devices. The colorful harmonic palette is enriched by quarter tones and gentle multiphonics, which overlap with each other and interact with the live saxophone.
Luminous was created for Steve Stusek, with the support of a UNCG Faculty Grant.

4. Crazy Fabric – interactive electronic music (8’00’’/2018/World Premiere)
Composer/Performance/Design: FENG Jinshuo, SUN Hua, TENG Yue (China)

Crazy Fabric, composed for interactive stage performance. It is presented by using flexible cloth that made with touch devices and combining lighting design. The part of music piece is driven by real-time data control in sound engine, and it is designed for performers to reach their emotion rhythm. On stage, performers imprint their hands on the flexible cloth to create different three dimensional positions and shaping. Each movements trigger the clues of sounds. It symbolizes the fabric has been implant the ghost, which presents the nirvana, transmigration, and reborn. Also, Crazy Fabric insinuates the meaning of life like this breezy flexible cloth with soul. Once the soul is gone, the fabric is just a piece of waster.

5. Phonurgie – Cycle du son, 4 – electroacoustic music (12’30’’/1998/China Premiere)
Composer: Francis DHOMONT (France)

To Inés Wickmann and her found objects

Phonurgie is the fourth part of my acousmatic “Cycle du son” (Sound Cycle), a celebration of “musique concrète”, an art which has persevered through a series of incessant mutations and metamorphoses.

Fifty years after the first “musique concrète” experimentations and on the brink of a new century, Phonurgie (word meaning fabrication, shaping, creation of sound) offers a vision of the current state of this new art, which has become an independent art of sound.
The title of this last section of the Cycle refers to the importance of the “invention” (Bayle) — that is the discovery — of sound.

Undeniably, “musique concrète” has created an unprecedented musical upheaval. Although the technological tools have changed and the colour of the sound has evolved, in Phonurgie the morphological thoughts and constructions have remained true to the ideals of the first “concerts de bruits” (noise concerts).

6. Double Brain – live electronics (8’00’’/2016/China Premiere)
Composer: Marek CHOLONIEWSKI, Franciszek ARASZKIEWICZ (Poland)

Double Brain is a multi-net-art composition performed live by a duo of composers/performers in a distance of dozen to thousands kilometers.
Data streams from the brain waves of both performers are cross-transmitted live between two far locations. The host performer on stage and performer on remote use their brain wave streams converted live to a multilayer sound structures mixed with the images from microscopes of both performers. Mega and micro scales are the framework structure of the composition.
There were several performances where host performer was located at the concert hall while the second performer sent his brainwaves data from selected locations in America and Europe.
Since 2016 – 2018 six performances of Double Brain were arranged:
Krakow/Krakow (Solvay Center) – March 13, 2016
Chicago-Louisville highway and Kraków, brain stream from a car – April 25, 2016
Morelia/Mexico (Visiones Sonoras festival) and Vienna – October 5, 2016
Moscow (Tchaikovsky Conservatory) and Krakow – March 6, 2017
Brussels (La Semaine du Son/FeBeME at Le Jacques Franck) and Krakow – February 2, 2018
New York (Nownet Arts Conference in New York) and Krakow – April 22, 2018
Chihuaha (Festival de Arte Nuevo) and Krakow – September 10, 2018

7. I’mPossible – interactive with Max, Kyma and three infrared sensors (8’00’’/2018/World Premiere)
Composer: Jeffrey STOLET (USA)

I’mPossible is an interactive performance composition for three custom-made infrared sensors, Max and Kyma. I’mPossible is a true virtuoso performance work that requires the rapid execution of thousands of notes within short timespans. I’mPossible is about musical speed and pounding action controlled through physical micro- and macro- movements. Through waves of musical intensifications the interaction between performer and instrument drives the dramatic thrust of the composition to its final climax. The title is a play on words that refers the extreme technical difficulties of performing the piece – I’m possible – and the idea that these impossible difficulties can be overcome – I’m Possible.

8 . A Message from Proxima Centauri – for flute, saxophone, piano, percussion, Image and electroacoustic music (13’30’’/2018/World Premiere)
Composer: ZHANG Xiaofu (China)
Image: MA Shihua (China)
Performer: Proxima Centauri

In the vast and mysterious universe, what kind of unknown imagination would Proxima Centauri, the Centaur’s star closest to the sun, bring to us? Its silence? Its malice and abandonment? Or is it his smile and his irritability?

This piece uses a rich musical vocabulary, a unique timbre and establishes a dialogue between acoustic and electronic instruments in time and space.
This work is dedicated to the musicians of Proxima Centauri.



23 October, 2018 (Tuesday)

Concert Series (2)


2018 Performance Communication Project for New Multimedia Arts of Zhejiang Conservatory of Music (ZJCM)
Performance Communication Project for New Multimedia Arts

17:30-19:00 (Lobby of Recital Hall, CCoM)

1. Cloud – Interactive Multimedia Installation
Artist: LI Qiuxiao
Sound Production: ZHANG Yinan, JIANG Chenshi
Computer Programming: WANG Xinyu

At the end of water, where is the beginning of cloud.
The installation is sponsored by the 2016 academic research project of Zhejiang Conservatory of Music, Hangzhou, China.

2.(Fill)- Interactive Sound Installation
Artist: DUAN Ruilei

We are immersed in sound, never out.

3. Soaring Waves·I – Interactive Multimedia Installation
Computer Music Design & Programming: WANG Xinyu
Computer Visual Design & Programming: YAO Zhimeng, MAI Jiashen, WANG Xinyu

Wave is one of the souls of water, one important component of traditional Chinese cultural images, and may associates with images like Cloud and Wind. In this installation, movements of sound and image in the vertical dimension become a metaphor of liquid soaring, the adoption of holographic media make it ‘intangible’ for the presentation of the visual elements. People will explore and experience the enjoyment of the special ‘fluid’.
The installation is sponsored by the 2018 academic research project of Zhejiang Conservatory of Music, Hangzhou, China.

4. “Desert of Cyber” – Interactive Multimedia Installation
Artist: HE Zhengcheng

The desert is the most monotonous and mysterious landscape in the world. Like turbulent sand, the Cyber culture consists of complex and variable data streams which are unknown and destructive. When the digital desert becomes a cyberspace, people become a stream of the desert turbulance. Will people have any new experience?

5. Disseminating Vaguely – Interactive Sound Installation
Artist: BAO Yihang
Design: YAO Zhimeng, MAI jiashen

In the era of information explosion, mass media has strong information transmission capacity. The information we receive and transmit through mobile phones is mostly the product of compression and simplification. After many times of transmission, is the information we receive and transmit still the same as before?




23 October, 2018 (Tuesday)

Concert Series (3)

Metal East-Journey: A Concert of Percussion and Electroacoustic Music
featuring Thierry Miroglio

19:30-20:30 (Recital Hall, CCoM)

1. Seven Studies in Self-Imposed Tristesse – for percussion and electronics (6’00’’/2005/Asia Premiere)
Composer: Lars Petter HAGEN (Norway)

I wrote «Seven Studies in Self-Imposed Tristesse» on the beautiful, but very melancholic in the winter, island «Gotland» outside Stockholm in Sweden, close to where the film-director Ingmar Bergman lived. While being there, I saw a lot of Bergmans movies, among others «The Silence» from 1963. This piece is a possible, or alternative, soundtrack to a specific part of the film. The musical material is based on piano strings, sine waves, white noise and wine glasses.

2. Sysiphus of the Ear – for percussion, video and electronics (15’00’’/2016/China Premiere)
Composer: Paulo C.CHAGAS (Brazil/USA)
Movie: Johannes BIRRINGER (Germany)

A near-silent film – with an electronically augmented soundtrack of breath, moving stones, and speech sounds, deconstructed and distorted from the poem ‘Zang Tumb Tumb’ by the futurist artist Marinetti – is driven invisibly by the percussion’s gestures which sustain and channel this audio-visual composition by Paulo C. Chagas and Johannes Birringer.

The visual scenario portrays an older man’s protracted and dangerous climb up a steep hillside in an abandoned quarry. The climb fails and the protagonist falls down and slides to the bottom, to repeat the climb over again. The images compose a study of futility (and an existential scenario indebted to Camus’ story on Sisyphus (1955) where he speaks of it being set against the “unreasonable silence of the world” here compounded by a [not visible] condition of an “inner wind” vestibular disorder, tinnitus and hyperacusis). The audible conditions of the inner wind are kinetically evoked and dynamically and dramatically interpreted through the percussion instruments, and thus the aural and the visual engender each other’s restraint.

The percussion music develops a structure of eight segments in which a myriad of impulses, regular and irregular beats, and a diversity of rhythms moves across a set of seven drums – from the low bass drum to the high bongs – and three cymbals. One of the sections feature the rhythm of “carimbó”, a dance of indigenous origin from the Brazilian region of Pará, specially the Marajó island located at the mouth of the Amazon River.

3. Best Worse no farther – for prepared vibraphone and electronics (10’00’’/2012/Asia Premiere)
Composer: Sebastian RIVAS (France)

The title of the piece is extracted from the novel by Samuel Beckett
Worstward Ho ( Cap au pire in its french version ) .
The construction of the piece, through an obsessive character, is based on three materials which are cohabiting and entwined.
Their successive development, constantly aborted by the appearance of new elements, helps to create a chaotic language .

“All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”
Samuel Beckett, Worsward Ho

4. Metal East-Journey – for percussion and electronics (25’00’’/2016/China Premiere)
Composer: Ivan FEDELE (Italy)

METAL EAST-JOURNEY is a composition for metal percussion instruments, divided into 5 parts named Ritual 1, 2, 3, 4 & 5.

The percussion instruments are grouped in 5 “stations” arranged in a circle in which the performer moves clockwise, in rotation, a metaphor for a journey to the East.

The first station (in which the percussionist has his back to the audience) contains 3 bell plates and 3 tam-tams; the second has 6 suspended cymbals of various types arranged “in a tree”; the third contains a tenor steel-drum, 8 cencerros and a pair of agogo bells; in the fourth (facing the audience) there is a vibraphone, 8 tuned cow-bells, a glockenspiel and two octaves of crotales; the last station contains oriental percussion instruments, including 7 Chinese gongs and 8 dobaci.

The title refers to the arrangement of the instruments and the “route” followed by the performer. The subtitles (ritual) suggest the way in which the parts of the composition have been conceived and how they should be perceived. The ritual character is evoked through processes of repetition, thickening/thinning and accumulation/subtraction of the material, taking us into a time dimension that is not narrative but rather contemplative-Apollonian or orgiastic-Dyonisian with a strong emotional impact.

The piece is dedicated to Thierry Miroglio who followed the writing of the work with praiseworthy persistence.




23 October, 2018 (Tuesday)

Concert Series (4)

Four Darks in Red: A Concert of Nicola Sani

20:30-21:30 (Recital Hall, CCoM)

1. Prelude from the Opera __The suspended time of the flight – 8 channels electroacoustic music (21’00’’/2007/China Premiere)
Production: CIRM, Nice (France)

Il Tempo Sospeso del Volo (The suspended time of the flight) is a stage opera based on the human, social and political story of the Italian judge Giovanni Falcone.

Giovanni Falcone was killed by the Sicilian Mafia on May 23, 1992, in one of the most terrible criminal attacks in history, while he was traveling along the highway from Palermo airport to the Sicilian capital. To kill the judge, the assassins blew up a whole stretch of highway, completely destroying it. Together with Giovanni Falcone his wife Francesca Morvillo and three body guards were killed.

“The suspended time of the flight” traces the decisive moments of the life of this extraordinary man, who fought fiercely against the mafia, the organized crime structure in Italy and the corruption and who paid a very high price for his personal and civil commitment, first living as a recluse, always surrounded by the body guards and finally murdered. The opera, which was premiered in Italy at the Teatro “La Cavallerizza” in Reggio Emilia and then staged in 2017 at the Berlin Staatsoper Unter den Linden, was composed by Nicola Sani on a libretto by Franco Ripa di Meana, who was also the director of the first performance in Reggio Emilia. The focus of the play is the flight that carries the judge Falcone from Rome to Palermo, just before the tragic attack. Hence the title of the work itself. The work opens with a solo-acusmatic Prelude, on 8-channel digital soundtrack, which introduces the atmosphere of the action and which is presented in this concert as an autonomous composition. With the Prelude an atmosphere full of tensions and obscurity spreads, which characterizes the “theater” in which Falcone and his enemies acted. For the realization of the sound material of the Prelude, produced by means of digital processing with different algorithms for the treatment of sound, an instrumental ensemble of twenty elements was used, featuring the same set-up that takes part in the performance of the stage work.

2. Four Darks in Red – for string quartet and 8 channel soundtrack (21’30’’/2009/China Premiere)
Violin: WANG Hongrui (China), Violin: LI Shihui (China), Viola: ZONG Chen (China), Cello: CHENG Yi (China)

The title is inspired by a painting by Mark Rothko, created in 1958. The electronic soundtrack has been produced at the IMEB Studios in Bourges (France) using sound textures performed by the Quartetto d’Archi di Torino (who also performed the world premiere of the piece in Rome). The sounds texture, featuring the strings always together, were played in pianissimo, but the microphone shooting allows their reproduction very loud, revealing the internal structure of the sounds of the strings. The digital processing changes the spectral morphology of the sounds patterns and the audio recording allows a precise environmental processing, which takes into account the timbre and spatial component of each single sound frame. In the painting by Mark Rothko, from which the title of the composition originates, four streams of different sizes and different dark shades are flowing on a background of an intense dark red. The spatial organization of the quartet in the score and in the live performance follows the organization of the shapes in Rothko’s canvas, with the two violins at the extremes, cello and viola in the center. A strong suggestion is given by the encounter between the roughness of the timbrical masses of the electronic space and the relief of the shapes that emerge, as obscure and indistinct objects, from the background.

Four Darks in Red was commissioned and produced by the IMEB-Institut International de Musique Electroacoustique de Bourges in 2009.

3. Studio per le ali – Study for the wings – electroacoustic music (15’35’’/2004/China Premiere)
Commande d’Etat of the French Ministry of Culture.
Production: INA-GRM, Paris

“Studio for the wings”, is conceived as a sound object moving in space. Every single sound is disarticulated, fragmented in space; a de-composition that allows the listener to reconstruct his individual perceptive synthesis during the performance. This allows a personal relationships of each listener, a subjective distance with the sound that change according to the listening position, making the space a dynamic environment in continuous transformation. For such work it is very meaningful the association of the sound processing methods experimented at GRM, with the design of the diffusion on the 8-channels of the audio system, to accurately reproduce the sound paths making the space the true protagonist of the composition. The relationship between sound and the spatial dimension is particularly meaningful; here is used as a real compositional parameter.

The title “Study for the wings”, comes from the studies on the dynamics of the flight by Leonardo da Vinci. I used this expression to point out an ideal relationship between the concrete sound and the virtual space generated from it, but which is detached from the original source. Like a spatial projection, indefinite instant, experienced through the loudspeakers. This composition, which lasts about 15 minutes, is a digital “octophonic” work. For its realization, the algorithms for the digital processing of sound created by the research group of the GRM in Paris were used, and in particular the digital techniques that allow to process the morphology of the sound spectrum.

4. Non tutte le isole hanno intorno il mare – Isola Terza (Not all the islands have the sea around – Third Island) – for bass clarinet and digital soundtrack (11’32’’/1997/China Premiere)
Bass clarinet: WANG Lidong (China)

Non tutte le isole hanno intorno il mare (Not all the islands have the sea around) is a three-composition cycle for solo instrument and electroacoustic music on 8-channel digital audio tape. Isola Terza, the bass clarinet piece, is the last part of the cycle, the extreme landmark, the remotest shelter of this voyage around the loneliness of the man-island, the antagonist thought, fading into a final ripping scream.

The bass clarinet redefines the timbrical space of the last part of this voyage. Flying close to the ground expanded spaces and unfathomable depths are recalled.

The sound of the instrument, the keys rattling and multiphonic distortions are an integral part of a sound universe within which the live portion unwinds as an hypothetical myself-narrating.

The narration manifests itself through sudden gashes and intimate sound reflections. The tape part becomes a sediment, the living memory, testifying this passage, a fading trace on this last horizon. Sound processing was carried out in the IMEB
Studios in Bourges, based on live clarinets sounds recorded with the French clarinetist Serge Conte.

Not all the islands have the sea around – Third Island was Commissioned and produced by the IMEB – Institut de Musique Electroacoustique, Bourges (France) in 1997.




24 Oct, 2018 (Wednesday)

Concert Series (5)

Nuo Ri Lang: Concert of ZHANG Xiaofu, the Composer of the Year

19:30-20:15 (Recital Hall, CCoM)

1. @ Sent to mars II – for electroacoustic music and digital image (2017/12’00”)
Composer: ZHANG Xiaofu (China)
Images: MA Shihua (China)

Human beings have always been longing for communicating with the unknown world in the unbound universe.

The audio and visual language of the piece was constructed by various sound and image materials, to illustrate the all kinds life state in human society. The composer derives to explore and to build a new world traversing between imagined and realistic realm and between abstract and concrete world.

2. Esprit de la Montagne – for dramatic soprano and electroacoustic music (1996/11’30”)
Composer: ZHANG Xiaofu (China)
Soprano: WU Bixia (China)

The Mountain Sprite – for soprano and electroaucostic music was inspired by the work of the great poet Qu Yuan (340-278 BC) of the ancient Chu state in the southern China. A monodrama of the lovesick “goddess of mountain” who was thinking of worldly pleasures and adoring her mortal lover, this poem was sung in rites dedicated to gods and goddesses, and it is noted mostly for its romanticism which was very avant-garde 2300 years ago. The music is expressive of poetic femininely imagination. Soprano speaking voice and falsetto voice, etc. in traditional Chinese drama music are used in the vocal part of this piece to achieve a specific epic-romance style.

3. Dialogue entre le Monde différent – electroacoustic music suite (1992-93/9’50”)
Composer: ZHANG Xiaofu (China)

This world is a result of countless dialogues: heaven and earth, men and nature, this being and that being… We are born destined to face this world-in-dialogue, and involve ourselves into unlimited dialogues. Things changes, dialogue attains eternity as the reality of existence.

Dialogue used electronic musical languages. It tries to depict the time-honoured Oriental philosophy and its abstrusities. Completed in Paris, Dialogue Between Different Spaces is the first “Acousmatic” piece of the composer which uses “abstract” languages alone. It has recieved numerous international awards.

4. Nuo Ri Lang – multimedia symphony for a percussionist, digital image and electroacoustic music (2016/20’00”)
Composer: ZHANG Xiaofu (China)
Image: MA Ge, ZHANG Chao (China)
Percussion: YIN Fei (China)

In Tibetan faith, Nuo Ri Lang is the title of the god of masculinity. The composer transformed the Tibetan cultural concepts into a specific kind of electroacoustic musical language that is characteristic of “loop” (tantrism sutra-chanting style) technique of different kinds of acoustic material. The loops and the spiral structure are highly symbolic of the cosmological outlook of “round” in ancient Tibetan culture. In contrast, the percussion instruments made out of bronze, leathern, wooden or stone material, are savage and primitive acoustically. The work proposes an imagined dialogue between man and god. Nuo Ri Lang was commissioned by the INA-GRM (France) in 1996 and world premiered with success in its “96 PRESENCES” in Paris. After twenty years, the composer rebuilt this music with three mixed percussion groups and electroacoustic music to expand the symphonic sound and space.

The revision of multimedia symphony Nuo Ri Lang was financially supported by National Arts Fund 2016 for the large-scale stage performing art.




24 October, 2018 (Wednesday)

Concert Series (6)

Interface: A Concert of Proxima Centauri

20:15-21:00 (Recital Hall, CCoM)

Marie-Bernadette CHARRIER, Artistic Director and saxophonist
Sylvain MILLEPIED, flute
Clément FAUCONNET, percussion
Hilomi SAKAGUCHI, piano
Christophe HAVEL, electronic

1. Quatuor – for 4 musicians (4’00’’/1932/China Premiere)
Composer: John CAGE (USA)

It is a work of fixed rhythmic patterns, it was composed by Cage during his studies with Arnold Schönberg. This seems quite remarkable, since the work is far from the spirit of the teacher, and has more in common with the works of a number of other composers.

2. YY – for flute, snare drum and electronic (11’00’’/2016/China Premiere)
Composer: Christophe HAVEL (France)

Roseau argenté
Sillon de lune hivernale
Souffle sur sa peau

Silver reed
Winter moon furrow
Breath on his skin

3. Next, then – for flute, saxophone, piano and percussion (12’00’’/2018/China Premiere)
Composer: Aureliano CATTANEO (Italy)

«NEXT, then» is a piece for flute (also bass flute), alto saxophone (also baritone), percussion and piano. The English word «NEXT, then» refers to something that is close but it can also refer to something that is happening after. We have, in the same word, opposite meanings: closeness in space and distance in time.
In this piece I want to go further in the research of idiomatic writing for the instruments, exploring extended techniques and preparation. «NEXT, then» is written in one movement of duration of about 15 minutes. It develops the idea of deconstruction of a material that at the beginning is closed to standard instrumental technique, and then, step by step, it is pushed to its limits through the use of extended techniques and preparation of the instruments.

4. Dante divine comedy’s City of DYS – for flute, saxophone, piano, percussion and electronic (12’00’’/2018/World Premiere)
Composer: Benoit GRANIER (France)

they had their faces twisted toward their haunches and found it necessary to walk backward, because they could not see ahead of them.
… and since he wanted so to see ahead,
he looks behind and walks a backward path …
«Dante Divine Comedy’s City of Dys,» is a composition that is part of a cycle based on Dante’s Divine Comedy. The composition is divided in three levels that are Inferno, the
purgatorio and Paradisio.

5. Living Room Music -for 4 musicians on Ipad (7’00’’/1940/Beijing Premiere)
Composer: John CAGE (USA)

Living Room Music is dedicated to Cage’s then-wife Xenia. The work consists of four movements: «To Begin», «Story», «Melody», and «End». Cage instructs the performers to use any household objects or architectural elements as instruments, and gives examples: magazines, cardboard, «largish books», floor, wooden frame of window, etc. The first and the last movements are percussion music for said instruments. In the second movement the performers transform into a speech quartet: the music consists entirely of pieces of Gertrude Stein’s short poem «The World Is Round» (Pritchett, 1998) spoken or sung. The third movement is optional. It includes a melody played by one of the performers on «any suitable instrument.»

6. Coliseum – for flute, saxophone, piano, percussion and electronic (12’00’’/2008/China Premiere)
Composer: Pierre JODLOWSKI (France)

The idea of the piece is born during a visit of the Arena in Nîmes. The corridors and the places emitted a tension as if the architecture and the lights had kept a track of the antic violence. This visual tension is the origin of the energy of my project, which always goes to tension and breaking movements.”

Without being directly narrative, the form and the material of the piece follow a path that wandering suggested me: a dynamic and a strength game, which struggle or encourage, which divide or add.
This piece is dedicated to Proxima Centauri and especially to Maribé.




25 October, 2018 (Thursday)

Concert Series (7)

Rupture d’équilibre: Concert of CIME/ICEM

CIME/ICEM – Italy (Tempo Reale)

19:30-20:40 (Recital Hall, CCoM)

1. Zyklon Vetar – electroacoustic music (4’12’’/2018/China Premiere)
Composer: Andrej CEBSKI

Zyklon Vetar is an electroacoustic composition, rendered for both stereophonic and quadraphonic reproduction systems. The title represents the sonic protagonists of the track. Zyklon refers to the infamous gas used by the Nazis during WWII, and vetar is Serbian for wind. The track is characterised by moments of destruction and rebirth of the sonic content, symbolising its fragility, and the endurance required to keep building it up.

The techniques used include texture accumulation; gesture, to initiate and terminate texture accumulation (even reaching saturation); silence, to emphasise the destroyed textural material and new starting phases.
Most of the sound material conveys the ideas of “softness” and “roundness”, imitating the behaviour of elements such as wind or smog. They may indeed feel soft and smooth, but can become destructive forces in their own way. With regards to structure, the track seems to take various directions, but never quite seems to reach its stability, almost as if external agents prevented it. When stability is finally reached, the results turns out to be completely different from anything that had been forcedly put together before.

2. Isole – electroacoustic music (8’40’’/2018/China Premiere)
Composer: Manfredi CLEMENTE

One and every island. A journey through it.

Isole [Islands] was born from the meeting of the recordings made during my residency in Cagliari, Sardegna, for the EU project ‘Le paysage sonore dans lequel nous vivons’, and the sounds produced in the darkness of a studio with my modular synthesizer. Instead of being the portrait of the location where the residency took place, I imagined this work as an abstract representation of a mediterranean islands, of its life, of a first discovery of it.

Isole was commissioned by association Amici della Musica di Cagliari in the context of the EU project ‘Le paysage sonore dans lequel nous vivons’.

CIME/ICEM – Belgium (FeBeME-BeFEM)

1. Kamudhunan Kasukman – electroacoustic music (6’21’’/2015-2016/China Premiere)
Composer: Valentin BECKMANN

Meditation for Balinese Gamelan and Sine Waves. Recorded and composed in Montreal, Canada.

2. Microscopia – for electroacoustic music and video (4’31’’/2017/China Premiere)
Composer: Stephan DUNKELMAN
Video: Niki JANTSCH (Austria)

3. Rebondi – electroacoustic music (6’50’’/2018/China Premiere)
Composer: Florian PASCAL

Rebondi – ils vécurent enfants

Dance with your own contradictions,
Build mobile walls, made of living bricks,
Piss on prefabricated houses.
Movement between opposing forces,
A dream, dancing the waltz with reality.

4. A Pianistic Adventure (Une aventure pianistique) – electroacoustic music (6’00’’/2012/China Premiere)
Composer: Jean-Louis POLIART

After asking a five-year-old beginner pianist to improvise at the piano without any guidance from me, I realized that she actually made a play-sequence with evident pleasure. This play-sequence was particularly successful in terms of form, rhythmic patterns and energy. In fact, the young pianist imitated, in a very personal way, the gestures and movements of a professional pianist in concert. It was a particularly beautiful and magnificent adventure. I recorded this improvisation, and it became the pretext for a project that I amplified through electroacoustic composition. Another narration was constructed – an intimate adventure, strictly private – that was a mirror to the first one. In the second narration, the sound material of the piano improvisation was transformed extensively in light of extra-musical facts tied to personal experience, notably the theme of adventure (already present in the experiment realized by the young student). This work was composed with the help of the Wallonia-Brussels Federation, Directorate of Culture, Department of Music.

5. Rupture d’équilibre – for electroacoustic music and video (6’00’’/China Premiere)
Music by Todor TODOROFF (Belgium) (1994-1997)
Video by Alexandre PETTAI (Russia) (2018)

The main source behind “Rupture d’équilibre” is a computer program I designed to simulate the behavior of a pendulum. It lets the user define all the virtual pendulum parameters: its mass, length, damping factor as well as various external forces. Zones can be defined to trigger sounds each time the pendulum enters them, with variations of pitch, intensity or timber, depending on the speed of penetration. Together with the pendulum position and speed, this meta-instrument is used to drive various MIDI devices, from samplers and synthesizers to signal processing units.

The idea was to create the feeling of a real event occurring, and perceiving it through the sound it makes. Various forces could be added to modify or disrupt the equilibrium, with real-time fader control, allowing to change the state gradually or abruptly.
Depending on the parameter’s values and on the sounds used, the results are at times quasi-organic and almost human sounding, at times cold and machine-like.
A hypnotic swing plays hide and seek with sounds and memory, creating an atmosphere where nothing remains certain…

Alexander Pettai video work is completely computer generated and will be world premiered in Beijing.

“Rupture d’équilibre” (First version), composed at ARTeM studio, was premiered at the 1994 Festival Ars Musica in Brussels, Belgium in March 1994, and was finalist at the I. Concorso Internacional de Musica Eletroacustica de Sao Paulo 1995 (Brazil). “Rupture d’équilibre” (Final version, March 1997) was premiered at Discoveries XXXVI in Aberdeen, UK in May 1997 and was finalist at the Musica Nova competition (Czekia, 2000).


1. Irides – electroacoustic (11’11’’/2017/China Premiere)
Composer: Aki PASOULAS

Irides literally means rainbows. In Greco-Roman mythology, rainbows were thought to be bridges made by the goddess Iris and connected heaven and earth. Irides are multicoloured arcs caused by diffraction and dispersion of light by water droplets in the air. Similarly, in this composition, momentary sunny spells and droplets of rain give rise to spectra, bands of colours, arcs that form double, triple and multiple sonic rainbows that permeate the scenery of the piece. The work was performed at the Sound of Memory symposium in London, at the ISSTA conference in Ireland, at the Sound/Image in London, and at the ICMC2017 in China

2. Karst Grotto – electroacoustic (8’00’’/2017/China Premiere)
Composer: Nikos STAVROPOULOS

The title, chosen for its onomatopoeic qualities and its direct references to landscape qualities as well as geological spatial structures and processes, reflects the sound world of the work.
The recordings of source materials were conducted using small electret condenser microphones in a 5.1 Polyhymnia pentagon configuration. The work, which was composed at the studios of the Department of Music Technology & Acoustics in Crete and the Institute for Computer Music and Sound Technology in Zurich, is the result of ongoing investigation into capturing and working with spatiality in acoustic micro space.

3. BF- electroacoustic (2’30’’/2017China Premiere)
Composer: Theodoros LOTIS

BF is a short birthday present of the 80th anniversary of Beatriz Ferreyra. Memories of her encounter as well as fragments and words from an interview of the composer at INA/GRM served as material for the composition.

4. Ode to Kitchen(7’47’’/2015/China Premiere)
Composer: Konstantinos KARATHANASIS

Ode to Kitchen is an homage to Neruda’s collection of Odes. The poet wrote 225 Odes on common everyday objects, such as bread, artichokes, his socks, etc., to celebrate life as expressed through myriads of sounds, colors, smells, and emotions. Hundreds of sounds of kitchen objects were classified according to their gestural archetypes and substances, and later processed mainly through the classic tape manipulation techniques. Complex textures were created by reading fast and randomly the contents of folders with similar sounds. The resulting thousands of sound objects were orchestrated with the intention to create a highly energetic and kaleidoscopic amalgam.

Ode to Kitchen received the 1st place in SIME 2016 and a honorary mention in Música Viva in the same year.




25 October, 2018 (Thursday)

Concert Series (8)

In the Cradle of Evening Sun: Concert of CIME/ICEM


20:50-22:00 (Recital Hall, CCoM)

1. Santa Muerte – 8 channels electroacoustic music (13’00’’/2018/China Premiere)
Composer: Mauricio San Emeterio VALDEZ

Originally this Electroacoustic piece was arengefor 34 channels but it has been performed on 8 channels. The piece was premiered during the AllAroundAudio-Symposium on November 23rd in 2016 at St- Pölten, Austria during the IMAcousmonio festival concerts. All the sounds come from Mexico City’s center contexts. Including the mass of “Rosario a la Santa Muerte” Recorder by Miguel Mesa, during the join residency at Casa Vecina in Mexico City during the autumn of 2015. The rest of the sounds sources and composition was made by Mauricio Valdés.

2. Fidicula Lyrae – electroacoustic music (14’12’’/2017/China Premiere)
Composer: Manuel Rocha ITURBIDE

This work was made from different sounds produced by an acoustic guitar, one of the first string instruments in antiquity. Its title is inspired in the origin of the instrument in Greek Mythology, the Lire, a turtle shell with three strings that ended captured in the firmament forming a small constellation marquee by five stars, whose tip, Alpha Vega, was named by the Romans as Fidicula (the roman lire). Fidicula Lyrae deploys its sound in a big acoustic firmament, unfolding the symbols of the ancient stellar constellations, but keeping always as reference that luminous point as the metaphoric origin of all the sounds of torn strings. This composition was a comission from GRM and was premiered in 2017.

3. Toh – for oboe and electronics (6’30’’/2014/China Premiere)
Composer: Elías PUC
Oboe: LI Zhilin (China)

Toh is a piece structured from the song of the Toh bird. The sound of the oboe and electroacoustic sounds generate a permutation of the original song. As a creative pretext, the piece is based on the legend of the Toh bird.

“…A long time ago, one day, Chaac, the God of rain, saw that the land of the countryside was no longer very fertile and decided to fix that problem. Then he thought to burn the field and then sow it again with all the seeds of the trees and the plants that they had. He called all the birds to help him in this work, and he told them: go and that each of you rescue the seed that you like the most, I want you to keep it so that we sow it again, since the fire has been extinguished . You have the task of saving the seeds, do well this work because it depends on the existence of the Earth. Then all the birds went to rescue the seeds of the fields that were already burned, but the Toh bird, that lives in the caves or near the cenotes, was very loose and when he arrived he said: I’m going to sleep for a while and then I grab the seed. He lay down and put his tail across the road, so that when the other birds passed, they stepped on it and woke up, but he slept a long time and did not feel when they passed. When he awoke, the fire had almost gone out and the part of his tail that was in the way was peeled, because all the birds passed over it. However, the Toh entered the field where the fire occurred and grabbed the only remaining seed: that of the green tomato; That’s why the Toh has green eyes. But there were many birds that entered the fields when the flames were very large and, risking their lives, saved different seeds. One of those birds was the Dziú, perhaps the bravest, because he entered when the fire was very strong, and saved the most valuable seed: that of corn. He managed to rescue several grains that he cared for a lot and then they served for the new plantings. However, their feathers burned and stayed gray, their eyes also reddened by the smoke, and now the Dziú bird, has the tip of its wings the color of ashes. But Chaac decided to reward him, and according to the other birds, they gave him the right for life, to lay their eggs in the nests of other birds without taking the trouble to hatch their eggs, or care for, or feed their children, leaving all that in charge of the other birds. That’s how everyone rewarded the Dziú bird, for having saved the corn seed.”

CIME/ICEM – Ukraine (UAEM)

1. Lithos – electroacoustic music (4’05’’/2014/China Premiere)
Composer: Ostap MANULYAK

“Lithos” – was composed in 2014 specifically for the AudioArt Festival in Krakow. The work is dedicated to the memory of those brave people who defended democratic freedoms and human rights against the dictatorship of the Yanukovich regime. The climax of the Revolution of Dignity happened on February 18 – 21, 2014 when special police detachments armed with AK-74 rifles and special sniper rifles opened firing directly into the unarmed protestants who were covered with improvised, often wooden, shields. Then more than hundred people were killed and few hundreds wounded. 40 protesters were killed at Instytutska street in Kyiv.

Most of the sound material of the composition is based on the transformations of the audio recordings from Institutska street during the shooting to the Protestants.

2. In the Cradle of Evening Sun – for Guzheng and electronics (5’50’’/2015/China Premiere)
Composer: Sergii LEONTIEV
Guzheng: HAN Tianya (China)

“When you feel bad – listen to the nature sounds. The silence of the world calms better than millions of useless words…” —Confucius

3. Atomic Igo – for electronic music and video (8’00’’/2017/China Premiere)
Composer: Anton STUK

Igo is an ancient Chinese board game, also popular in Korea and Japan.
Nuclear igo – the second game of the tournament for the title Hominbo between Kaoru Iwamoto and Haszimoto Utaru . This game was held 4-6 August 1945 in the city near Hiroshima. On August 6, an atomic bomb was thrown at Hiroshima. The Hiroshima Police Chief has banned the tournament in the city, thereby saving the players. When in the evening refugees began gathering in Itsumati (Hiroshima suburb where the game was played), the players realized what had happened.
In this work used samples from the sound of ceremonial traditional Gagaku music and implemented the specters of the radioactive elements Cs-138, Sr-90.

4. “Friend Li Po..” – for Guzheng and electronics (15’00’’/2015/China Premiere)
Composer: Alla ZAGAYKEVYCH
Guzheng: HAN Tianya (China)

The title of this piece comes from the poetic mystery of greet
Ukrainian poet Oleg Lysheha “Friend Li Po, Brother Tu Fu”.

The basis of the mystery are the dialogues of the ancient Chinese poets, who heard Oleg Lysheg in the far autumn forests ..
They talk about the leaves that spoils in the forest in the lawn, about the reeds that shine in the sun .. about the silence .. and singing ..

The basis of the piece were dialogue between Li Po and Tu Fu
from Oleg Lysheha’s mystery – their mood, melody of phrases,
even to use the rhythmic structure of poetic lines.



26 October, 2018 (Friday)

Concert Series (9)

Turbulent Blue: Concert of CIME/ICEM

CIME/ICEM – United Kingdom (BEAN)

19:30-20:40 (Recital Hall, CCoM)

1. Traces of Play – 4 channels electroacoustic music (11’10’’/2017/China Premiere)
Composer: Ambrose SEDDON

This work was inspired by the kinds of games that I have played with my young son during his early years, using toys along with everyday objects. I was drawn to the kinds of play that he engages with and the resulting outcomes and processes – repeating the same thing, exploring new possibilities/potentials, returning to the familiar, or trying something once and then moving on to find the next interesting activity. I wanted to adopt my son’s spirit of play in my musical explorations; to pursue the development of some ideas whilst leaving others less developed, open to a possible return but not necessarily bound to it. Accordingly, the transformation of source recordings often involved my own improvisations within simple systems built in Supercollider, which mediated and conditioned the nature of my musical playing. Many of the source sounds are significantly transformed, yet I hope that traces of the physical play underpinning the sound world remain tangible. The music is structured around a small number of recurrent events – both specific sound materials/environments encountered, and the nature of the transitions between them – and it is hoped that these events contribute to the accumulating impression of form as the piece unfolds. Initial work on this composition was carried out at Elektronmusik Studion (EMS), Stockholm, and I am extremely grateful to everyone at EMS for their help and support while I was in residence.

CIME/ICEM – University of North Texas (UNT)

1. Qualia – electroacoustic music (9’39’’/2017/China Premiere)
Composer: Panayiotis KOKORAS

Qualia has been composed at the CEMI studios – Center for Experimental Music and Intermedia at the University of North Texas in 2017. The composition explores the experience of music from perception to sensation; the physical process during which our sensory organs – those involved with sound, tactility, and vision in particular – respond to musically organized sound stimuli. Through this deep connection, sound, space, and audience are all engaged in a multidimensional experience. The motion and the meaning inherited in the sounds are not disconnected from the sounds and are not the reason of the sounds but are in fact the sound altogether. Energy, movement, and timbre become one; sound source identification, cause guessing, sound energies, gesture decoding, and extra-musical connotations are not independent of the sound but vital internal components of it. Qualia are claimed to be individual instances of subjective, conscious experience. The way it feels to have mental states such as hearing frequencies at the lower threshold of human hearing or a piercing sound, hearing an Bb note from a ship horn, as well as the granularity of a recorded sound. In Qualia, I do not experience musical memory as a sequence of instances but as a sensory block that last the entire duration of the piece. The experience of sound itself is not sequential, it bypasses past or future, time becomes a present constant wholeness, a single unity. In this state of consciousness, time dissolves. The vibrating air molecules from the speakers, the reflections in the physical space, and the audience are the sound.

2. husk – electroacoustic music (12’04’’/2017/China Premiere)
Composer: Thomas ZACH

husk is a study of dissection, classification, and reanimation. The work uses ancient texts on anatomy from Ibn Sina, Aristotle, Cicero, and Francis Bacon as an impetus for examining and defrauding sonic material of its structural identity. Shattered objects are rebuilt from salvage and mobilized for surrogacy.

3. Turbulent Blue – electroacoustic music (9’25’’/2009/China Premiere)
Composer: Jon Christopher NELSON

A certain degree of turbulence is required to initiate any sound, whether this impetus is a whorl of air, a gush of fluid, a surge of friction, or a sudden impact. As a musical instrument responds to this unstable flow, its physical properties provide feedback that reigns in the chaos, stabilizing the sound into a more periodic tone. Using both sampled materials and physical models of sound, this composition strives to create a surreal sonic world in which the real and imaginary coexist. This work was commissioned by the Institut International de Musique Electroacoustique de Bourges (IMEB) and was realized in their studios in Bourges, France. Initial research for the composition was also made possible through a University of North Texas Research and Creativity Enhancement grant.


1. S_S_S – for acoustic percussions and electronic sounds, dance and video (10’44’’/2018/ World Premiere)

Composer and Electronics: Igor KEFALIDIS
Video: Andrew QUINN
Choreography and Dance : Sophie JEGOU (France)
Percussion: Thierry MIROGLIO (France)

It is a montage of ostinato complexes, which repeat with some changes, in a character of sarabanda. In this new version the composition is inseparable from video, made by Andrew Quinn, and also supposes original choreography of Sophie Jegou with her participation.

2. sy_nap_sis – for saxophone and electronics (9’40’’/2018/China Premiere)
Composer: Nikolai POPOV
Saxophone: ZHANG Zehao (China)

This concept in the scientific nomenclature of the ancient Greeks meant an exposition in a concise form, without detailed argumentation and without detailed theoretical reasoning of one whole subject or one area of knowledge. With a number of limitations I present my view on the technical and creative tasks assigned to me. The main idea of the piece is the interaction and the refraction of the real sound of the instrument, the physical impulses of the performer and electronics.



26 October, 2018 (Friday)

Concert Series (10)

Interlineal: Concert of CIME/ICEM


20:50-22:00 (Recital Hall, CCoM)

1. Raw Maze – for electronics and video (7’02’’/2015/China Premiere)
Composer: Tonalli R. NAKAMURA

We are submerged in a post-memory phase, where the discourse proposes a development of an anachronistic narrative based on a basic form of human history, connected to its rationality and construction of society, a raw labyrinth created by both, nature human and social structure.

2. Interlineal – 8 channels electroacoustic music (11’00’’/2017/China Premiere)
Composer: Rodrigo SIGAL

Interlineal is a multichannel piece exploring connecting lines between materials, space and sources and was originally composed at CMMAS. The piece was commissioned in 2017 by the Groupe de Recherche Musical (GRM) and supported by the Sistema Nacional de Creadores de Artes (SNCA) in Mexico.

3. Baile – for bass clarinet and electroacoustic music (9’05’’/2002/China Premiere)
Composer: Francisco COLASANTO
Bass clarinet: WANG Lidong (China)

“Baile” is a piece that pretends to incorporate to the electro-acustic language, the sounds and characteristics of rock. The contrabass clarinet is processed in real time, using MAX MSP, incorporating to huge timbre and expressive possibilities that the mentioned instrument owns, resources that result in unexpected sonorities. This piece has been made thanks to the support of Antorchas Foundation that gave me in 2002 a subsidy for Artistic Creation. This work has also been awarded with the 2004 Juan Carlos Paz Award, granted by the Fondo Nacional de las Artes (National Fund for the Arts).

Baile’s debut was performed by the clarinet player Martin Moore.

CIME/ICEM – Iran (Spectro Centre for New Music Iran)

1. Stochastic Dance Music – electroacoustic music (6’44’’/2018/China Premiere)
Composer: Idin Samimi MOFAKHAM

First but not the last attempt to make a dance music by a contemporary composer, who does not have a feel for dance at all.

2. Jamais vu – electroacoustic music (3’36’’/2018/China Premiere)
Composer: Siavash JAFARI

There’s an opposite to Deja vu. It’s called Jamais vu. It’s the feeling when you meet the same people or visit the same places, again and again, but every time is the first. Everybody seems to be a stranger. Nothing is familiar. In this piece, I’ve tried to remake that feeling.

3. Robot Radif – electroacoustic music (3’15’’/2006/China Premiere)
Composer: Ata EBTEKAR

A piece from the album Persian Electronic Music: Yesterday and Today 1966-2006, which was a tribute to the works of one of the first active electronic music composers of Iran, Alireza Mashayekhi.

4. I.M.FREE – live performance for piano, saxophone, electronics and video (18’02’’/2017/China
Performer: SpectroDuo
Saxophone/electronics: Idin Samimi MOFAKHAM
Piano/electronics: Martyna KOSECKA

I.M. FREE is a program based on the free improvisation, using the Persian modal music materials for its sound base, re-written in a contemporary musical language. Noise produced by various sonic operations through the speakers mixes freely with saxophone sounds, transformed – rough and unleashed! The whole timbre layer of this performance is being accompanied by video-glitch operations, bringing the audience more and more towards the atmosphere of the Orient.

CIME/ICEM – Poland (PSeME)

1. Insektarion – 8 channels electroacoustic music (8’18’’/2016/China Premiere)
Composer: Lidia ZIELIŃSKA

Insektarion is a piece about Wroclaw – one of the biggest cities in Poland. “My” Wroclaw is not so much the city’s audiosphere, but rather a mental sketch of memory. The work established anew the atmosphere, sound logos, symbols and sonic emblems recalling different situations and people in Wroclaw. I used a field recordings made by myself and from the archive of the Laboratory of the University of Wroclaw.

2. Little Electronic Orphans – electroacoustic music (9’08’’/2016/China Premiere)
Composer: Edward SIELICKI

The piece “Little Electronic Orphans” was realized in 2016 and is devoted to the memory of Eugeniusz Rudnik. These “orphans” are small musical ideas collected for the last few months and put together with a manner Rudnik did, although he made his music in classical way: copying, cutting and splicing the tape, but my work is finally made on multitrack computer DAW. However the sound sources are based on sampled and then transformed sounds taken from piano, noises, slices of folk violin recording, singing natural voice and many others. For the transformation was used iPad and its various applications. The word “little orphans” in Polish “sierotki” is similar to the word “media” or “means” pronounced in local dialect. I think Rudnik will be happy with this coincidence.

3. bend – electroacoustic music (6’19’’/2018/China Premiere)
Composer: Piotr BEDNARCZYK

The title refers to the phenomenon of breaking virtual reality through software errors. Specific, often seemingly meaningless actions can lead to looking into previously undiscovered spaces, which are only a side effect of the final product. One of the most important elements of the ”bend” is the exploration of ”industrial” sounds and the use of processing techniques leading to the creation of a glitch impression.

4. Mi ritrovai per una selva oscura – for flute and electronics (9’40’’/2018/China Premiere)
Composer: Dariusz MAZUROWSKI
Flutist: ZHAO Zihan (China)

This concept in the scientific nomenclature of the ancient Greeks meant an exposition in a concise form, without detailed argumentation and without detailed theoretical reasoning of one whole subject or one area of knowledge. With a number of limitations I present my view on the technical and creative tasks assigned to me. The main idea of the piece is the interaction and the refraction of the real sound of the instrument, the physical impulses of the performer and electronics.



27 October, 2018 (Saturday)

Concert Series (11)

CIME/ICEM PRIX – 2017 Prize Winners’ Concert

11:00-12:30 (Recital Hall, CCoM)

1. Remembering Japan – part 1 – 8 channels electroacoustic music (9’48’’/2016/China Premiere)
Composer: Hans TUTSCHKU (germany/USA)

This is the first part of a series of compositions. In 2014 I spent three months in Japan, researching musical rituals, improvising with local musicians and recording countless sounds in temples, gardens, streets and nature.
I’m aiming to create a sonic voyage by revisiting those recordings and by bringing spatially and temporally unrelated sonic scenes into the same room. The work is clearly based on Japanese culture while reflecting at the same time my own compositional preoccupations: polyphony, density, space and memory as structuring and formal principles.

2. kibuyu – for electronics (11’32’’/2017/China Premiere)
Composer: Daniel BLINKHORN (Australia)

Off the coast of Tanzania, on the small island of Zanzibar I happened upon a bazaar in
Stonetown with all manner of beautiful African instruments. I found myself drawn to a small,
hand made kibuyu. This humble instrument buzzed and creaked and was far from perfect, yet
striking a tine was instantly so musically agreeable.

Kibuyu in Swahili translates to ‘Calabash’ and is the box resonator used in the construction of
the instrument. I wanted to use the term as a metaphor similar to the phenomenon of seashell
resonance, except in this instance, as one holds the kibuyu against their ear they don’t hear
sound redolent of the ocean, but rather a more dynamic abstraction of sonic imagery
resounding well beyond the instrument itself and deep into the island of Zanzibar and the
many evocative soundscapes it contains. All the material within the composition comes from
the striking of three tines of the kibuyu, with no additional sonic material employed within the piece.

Zanibar is a UNESCO World Heritage Site.

3. El gesto ausente – electroacoustic music (11’11’’/2015/China Premiere)
Composer: Raúl MINSBURG (Argentina)

“El gesto ausente” (2015), is a work dedicated to Bernard Parmegiani. From a fictional point of view, it imagines Parmegiani having a promenade in Buenos Aires hearing and feeling the rhythm of the city and its music from his own musical perspective. The title, and the work, also deals with the problematic of the gesture in acousmatic music. The gesture is not visible but aural. But how subtle a gesture can be before it is no longer perceived as such? How many gestures can be perceived at the same time before they are perceived as only one global gesture? The paradox, the contradiction, is present in many of the works of Parmegiani… The absence of a gesture, could be perceived as such?

4. Sous l’écorce des pierres – promenade – electroacoustic music (14’21’’/2017/China Premiere)
Composer: Gilles GOBEIL (Canada)

To Folkmar Hein
Many of the sounds used in this piece were provided to me by Folkmar Hein, who commissioned the work. The majority of these sounds, which he himself recorded, can to some extent be considered as noises devoid of any precise meaning. What intrigued me was the question of whether it would be possible to integrate them into a broader project that could evoke the very long nature hikes that Mr. Hein regularly embarks upon in the surroundings of Berlin. He confided to me that after a certain time during these promenades, one’s perception of not only time but also of listening is gradually transformed. Perhaps the transition into this state might facilitate the exposure of a particular reverie concealed beneath the skin of the stones…

The piece was produced with support form the CALQ (Conseil des Arts et des Lettres du Québec).

5. Empties-Impetus – electroacoustic music (20’01’’/2015/China Premiere)
Composer: James O’CALLAGHAN (Canada/ireland)

Empties-Impetus attempts to navigate the instruments of the string quartet as
imaginary interior spaces and as bearers of meaning; variously by grappling with the historical weight of the idiom and the recognizable quality of its timbres, and also by subverting that meaning by reassessing the objects according to their physical construction, spatial properties, and different environmental contexts.

Empties-Impetus is the final work in a trilogy of acousmatic pieces, with Objects-Interiors (2013) and Bodies-Soundings (2014), that imagine the sounding bodies of instruments as resonant spaces.

Empties-Impetus was realized in 2014-15 in the composer’s studio in Montréal (Québec) and completed in 2015 at the Groupe de recherches musicales (GRM) in Paris (France), and premiered on January 24, 2015 in the Auditorium Saint-Germain of the Maison des pratiques artistiques amateurs (Paris, France). The piece was commissioned by the Ina- GRM. Empties-Impetus was finalist in the 2nd Klang competition (Montpellier, France, 2015).

6. Your Trash – for percussion, video and electronics (7’00’’/2016/China Premiere)
Composer: Igor C SILVA (Portugal)

7. Wolf-Rayets – 8 channels electroacoustic music (15’00’’/2018/China Premiere)
Composer: Francesco FABRIS (Italy)

Wolf-Rayets is a piece inspired by the homonymous stars in which the representations of the spectra have been used as a graphic score for the performance of the recorded layers. The sound sources are noise, an analog oscillator, a spectral multiband resonator and binaural recordings from metal objects. Data obtained through the spectrum of the two hottest Wolf Rayet stars (WR 102, WR 142) have been stored in a custom made software and sent as CVs to a Eurorack modular system to control various parameters of an hardware granulator, a germanium transistors-based fuzz, a digital reverb and an analog compressor.

8. Circum – electroacoustic music (15’00’’/2014/China Premiere)
Composer: Chris BEVAN (United Kingdom)

Circum explores the use of a bicycle as a sole sound source; something I found particularly interesting to use as an instrument due to the range of materials used in its construction and the tendency for a sense of mechanical impetus, allowing for the production of a huge variety of complex and dynamic sound materials. The work aims to showcase the bicycle as a sum of it’s parts, with individual components gradually coming together to facilitate it’s mechanical function and the potential for a diverse range of experiences.

9. Mobyrei- electroacoustic music (6’57’’/2016/China Premiere)
Composer: Diego RATTO (italy)

Mobyrei is made by three parts, every section has its own mood and everyone makes the evolution of the piece. This work is made by thinking about letting go the listener into the internal space of the piece. Some of the characteristics are: the contrast between the regular and irregular rhythms the coexistence of aggressive and delicate gestures a specific attention about the dynamic changes to make it sounds like something alive. First of all this piece is made by using only own recorded concrete sounds without other libraries.



27 October, 2018 (Saturday)

Concert Series (12)

Notes au Soleil 3: Concert of CIME/ICEM

CIME/ICEM – Spain (Orquestra del Caos)

19:30-20:40 (Recital Hall, CCoM)

1. Construction aquatique – electroacoustic music (8’00’’/2017-18/China Premiere)
Composer: Medín PEIRÓN

The sound of water in general, and the sound of falling drops in particular, has been well explored by composers of electroacoustic music. Hugh Le Caine (“Dripsody”), Toru Takemitsu (“Water Music”), Bernard Parmegiani (“Jeux”), Denis Dufour (“The Blob”), Yves Daoust (“Water Music”) or Annette Vande Gorne (“Eau »), among many others, have been fascinated by this kind of sonorities. In «Construction aquatique» sound objects used have water as reference, because they derive directly from recordings of aquatic elements, or because they present morphological analogies with it. The idea is, however, write with these objects in a totally abstract way, so the origin of the material is, for the listener, absolutely not important, moving the point of attention to the pure musical construction.

2. Bienen – 6 channels electroacoustic music (10’40’’/2017-18/China Premiere)
Composer: José Manuel BERENGUER

6 track and 10 minutes reduction of Bienen, a initially 20 minutes work conceived for and premiered in a 16 loudspeakers installation I called @bienenVolk and premiered at the Gräsergarten in the Akademie der Künste Berlin, in September 2017. Both works are commisions of the Studio für Elektroakoustishe Musik of the Akademie der Kúnste-Berlin.

Bienen was composed starting from a big set of 6 track recordings done in the summer of 2014 with percussionist Pilar Subirà, that played all the instruments. Apart editing, no processing was applied to any sound.

CIME/ICEM – Hungary (HCMF)

1. La Cocquille et le Clergyman – for video and electroacoustic music (13’00’’/1999/China Premiere)
Composer: Andrea SZIGETVÁRI

The piece was comissioned by the Autumn Festival Budapest 1999.
The electroacoustic music was written for re-edited excerpts of Germain Dulac’s silent movie. The original movie is considered to be the first surrealis film presenting metaphorical images of the subconscious. A weird love triangle between a woman and two dueling men, a soldier and a priest serves to reflect the dark side of sexuality. The music aims to express the essential properties of the characters, their feelings and hidden thoughts.
The piece received the PRIX of the Bourges Electroacoustic Music Competition in Multimedia category in 2001.
Director: Germain Dulac
Script of the original silent movie: Antonin Artaud
Date of creation of the original silent movie: 1928

2. Pipes and Casters – Hommage á Zoltán Jeney – 8 channels electroacoustic music (9’13’’/2018/China Premiere)
Composer: Bálint BARÁRTH

The piece written for 8 channels is composed of sounds recorded at Dunaújváros Ironworks, and organized around the sound of the dramartic drill of the tapping of the blast furnace.

The configurations formed on the multichannel system are characterized by slow spatial transformations and fast, suddenly appearing sound effects. Apart from the sound sources recorded at the Ironworks it was Zoltán Jeney’s piece “For Glasses and Metals” which inspired the composition of Bálint Baráth’s work.

CIME – France (MISAME)

1. A la prochaine, la taupe – electroacoustic music (14’55’’/1978/China Premiere)
Composer: Christian CLOZIER

See you next, the Mole

Dedicated to the missing of 68

“There were a few hours when power hesitated on a reed leaf, sort of. Put yourself in the place of a man like the Prime Minister if the General had not returned. I think that if the General had wanted to return later, he could not have done it because the government would have disappeared … Michel Jobert
“I also know, and you know it with me, that facts have happened that no one can accept. After the inevitable shock of contact with aggressive protesters to be repulsed, the men of order that you are must immediately take back all their control “Letter from Préfet Grimaud to all police personnel, May 29 1968.
“We wanted to change the man and we failed. This century has given birth to two monsters, fascism and Stalinism, and our ideal has sunk into this apocalypse … I know that youth will succeed where we have failed, that socialism will triumph, and that it will not have the color of the Russian tanks crushing Prague.

L.éopold Trepper, 1978
The work is composed of 2 separate stereo support tapes, music and sound, broadcast by live mixing (real time) on 2 networks of speakers. The musical part is broadcast on the entire device with the exception of 2 central loud speakers more medium reserved for the sound movie. This one has two parts: the first which constitutes a prelude (French version and reduced English version) and the second which is played in parallel and episodically with the continuous musical part.
This mode of diffusion has already been implemented for “August 22” (1972) and for the fourth movement of the “Symphony for a lonely child” (1974). Realized in the studios of the GMEB in May 1978.

Duration 14 ’55 “, shortened version, without the prelude and with the music and soundmovie parts mixed on two tracks.

2. Notes au Soleil 3 (Notes to the Sun 3) – electroacoustic music (9’09’’/2018/World Premiere)
Composer: Françoise BARRIERE

To Jean-Claude Le Duc

In 2015, the pianist Jean Pierre Dupuy asked me to compose a second work which he could schedule in his concerts with the one by me that since 1983 he often plays, Par temps calme et ensoleillé 1. I was gathering the works by my friend sound poet Henri Chopin I own. I reread his Notes au Soleil (2000) and this is its magnificent text which inspired to me the idea of a new piece. I looked for very pure sounds which would evoke me sun rays: they are the ones of Tibetan singing bowls of several sizes and heights. Then I recorded tones of rain sticks, and also sounds of thunderstorm and wind. Once transformed by stretching and put in the space, they sound as waves and clouds of light moving through the interstellar night.
I composed 3 electroacoustic parts and decided to create three works on the same theme: the first piano/tape mixed, the second voice/tape and the third one which I will play during the Festival is for electroacoustic solo.

Work realized in my personal studio in 2017/ 2018.



27 October, 2018 (Saturday)

Concert Series (13)

Dreaming of Time: Concert of CIME/ICEM

CIME/ICEM – Argentina (FARME)

20:50-22:00 (Recital Hall, CCoM)

1. Piedras (stones) – electroacoustic music (4’12’’/2017/China Premiere)
Composer: Pablo BAS

Piedras is an electroacoustic musical piece created for a choreographic work that tells the story of the city of Tandil, Argentina, from its remote origins. The city is located on a geological formation that is one of the oldest in the world. The music narrates the first moments when the place experienced the transitions from “not being” to “being”. Tectonic movements and other natural agents are both symbolically and materially present through the sounds of rocks, stones, pebbles, earth and other geophonic elements.

2. “…acerca de interferencias, desintegraciones y dispersiones.” (“… about interferences, disintegrations and dispersions.”) – 6 channels electroacoustic music (7’38’’/2017/China Premiere)
Composer: Edgardo MARTÍNEZ

Interferences between opposing sound objects, disintegration as a way of elaboration, and dispersion of materials in the virtual space.

3. Galumphing – electroacoustic music (7’36’’/2018/China Premiere)
Composer: Franco PELLINI

This work was born from the desire to convert imperceptible sounds into sounds that are strongly audible and present. Starts from the change in the condition of sounds whose existence we would ignore. Galumphing is immaculately loud and seemingly inexhaustible game energy. It is the apparently useless elaboration and ornamentation of a licentious, excessive, exaggerated and uneconomic activity.

4. Como una espina desgarrando la carne (Like a thorn tearing the flesh) – electroacoustic music (5’26’’/2009/China Premiere)
Composer: Alexis PEREPELYCIA

Como una espina desgarrando la carne (Like a thorn tearing the flesh)
Sound as a sensitive body. The body understood not as a sensor, but as a actuator capable of generating a physical response from a stimuli. A series of interconnected tissues whose output interface is the human body.
A sample of human voice is thrown into a network that constantly feeds itself and generates different modifications from a first stimuli, resulting in a movement that is constantly interrupted by a series of tears in the matter itself.


1. Dreaming of Time – for video and electroacoustic music (4’40’’/2018/China Premiere)
Composer: Eric LARRIEUX

This piece is inspired by Alan Lightman’s novel, «Einstein’s Dreams». Through the lense of the dreams of Einstein during his work on the theory of relativity, Lightman guides the reader through many possible conceptions of time. Similarly, the goal of this piece is to invite the listener to consider their own perception of and relationship to time. Further inspiration is drawn from Curtis Road’s Microsound, specifically his discussion of the interplay between and effects of different time scales.
As the ticking of a clock can be thought of as the (physical) embodiment of time, the sound material for this piece was sourced from a recording of the timer on my toaster oven. In order to realize my vision, I focused primarily on processing the recorded sound with granular synthesis and delay lines using «Cecilia 5», as they are both methods that truly enable one to explore the perception of sound at (and between) different scales of time. Additional processing and mixing work was performed with «Adobe Audition» at my home studio and the ICST – Institute for Computer Music and Sound Technology studios at the Zürcher Hochschule der Künste.

2. Concrete – electroacoustic music (7’22’’/2016/China Premiere)
Composer: Ken GUBLER

Concrete is an examination of sounds of our natural and artificial surroundings by creating a virtual sound environment. Natural sounds meaning perceivable, like e.g. the humming of a ventilation or just plain room information, were recorded using a field recorder. I was interested in using sounds we normally don’t perceive consciously but are part of our sonic environment. The artificial sounds come from various electronic devices that where recorded from the audio output or using coil microphones as a representation of things and processes we cannot perceive directly but still are part of our environment. The different parts of the piece emphasize different states of being like attentive listening, experiencing, waiting, exploring and moving. The piece merges influences and approaches from electroacoustic music as well as contemporary electronica.


1. Acerca de tus palabras. ( About yours words) – electroacoustic music (6’40’’/2006/China Premiere)
Composer: Edith ALONSO

Produced at the studio of the Conservatoire Iannis Xenakis of Paris.
The text that I have used in this work is taken from Hesiod’s Theogony and Parmenides’s fragments. This text speaks about the true, the lie, and the relations that there are between them. The true can become false and the opposite can happen too. It is published in Radical Matters label.

2. Krill – for cello and electronics (10’36’’/2015/China Premiere)
Composer: Gregorio JIMENEZ
Cello: DONG Yi (China)

Krill (2015) for cello and electronics was a comission for the cellist Trino Zurita for the “Mostra Sonora” Festival. This piece has a descriptive character and it suggests the vital cycle of that small crustacean.

3. Alborada – electroacoustic music (8’32’’/2010/China Premiere)
Composer: Rafael LINÁN

Alborada means “music performed at dawn, in the open air”, music to celebrate the birth of a new day, a new cycle that anticipates plenty of opportunities to getting together, to meditate, to sing and play, to cultivate awareness and being transformed…

4. Mai Morente – for cello, video and electronics (10’10’’/2018/China Premiere)
Composer: Jose Lopez MONTES
Cello: LI Jincan (China)

The piece was composed combining very different materials: sounds of ancient objects, viola and cello recordings, and discarded shots from Enrique Morente´s productions.

On the one hand it is an exploration of the nuances, registers and vocal inflections peculiar to Morente, which are reworked as a harmonic-melodic material in dialogue with the timbrical possibilities of the cello.

As a contrasting element, vigorous use is made of rhythmical elements treated as derivations and developments of archetypical elements of flamenco, which requires the performer to have an extraordinarily precise synchronization with the electronic part.



28 October, 2018 (Sunday)

Concert Series (14)

Fragrancy: Concert of CIME/ICEM
Closing Concert of MUSICACOUSTICA-BEIJING 2018


20:00-21:20 (Recital Hall, CCoM)

1. Fragrancy – for flute and electronic music (2018/9′46″/China Premiere)
Composer: LI Junzuo (China Conservatory of Music)
Flute: YANG Meige (China Conservatory of Music)

In this mixed music piece for flute and electronics, the composer tries to capture the different kinds of “fragrance” perceived by the sense of smell, transforming the different “fragrance” into a sounds language that can be sensed by hearing. In electronic music, the concept of “sound gesture” and “timbre shape” is used to describe and extend this scene, thus reflecting the temperament and color contained in “fragrance”.

2. Dystopia – multimedia electroacoustic music (2018/5′20″/Beijing Premiere)
Composer: CHEN Si (Beijing University of Posts and Telecommunications)
Video: WU Ruoheng (Beijing University of Posts and Telecommunications)

Dystopia is a multimedia Electroacoustic music combined with digital images. Electroacoustic music composition is influenced by futuristic music and anti-utopian trends,Sampling machine operating noise is the main development material. With the development of modernization and science and technology in China today, Material civilization is rampant, The substance begins to dominate, Blurring the definition of freedom. Expressing the opposition and unity of matter and spirit, I hope to find a balance to form unity. The work was selected for the Florence Multimedia Arts Festival in June 2018.

3. Memory of the Tarim River -for sattar and electronic music (2018/10′00″/ World Premiere)
Composer/performance: GUAN Liqiong (Xinjiang Arts University)
Sattar: Mihrigul (Xinjiang Arts University)

This work takes the history of Tarim River Basin in Xinjiang as the background, and takes the unique Sattar Qin of Uygur nationality as the main musical instrument. Its melancholy and moving tone, together with electronic music, constitutes a deep dialogue in the soul. The work mainly uses GRM-tools, Audition and other software to transform the sound sampling, through the presentation of six paragraphs, praised the working people’s courageous and optimistic spirit.

4. Origin – Interactive composition for Wacom Tablet and Kyma (2018/9′00″/China Premiere)
Composer/Performer: WAN Fang (China/University of Oregon)

Origin is an interactive composition based on audio recordings of various Chinese percussion instruments. By using the pen and touch controls of the Wacom Tablet to control the sound-producing algorithms contained in the Kyma creation environment, my musical ideas unfold as musical journeys that are both dramatic and nuanced as the sonic material develops.

5. Nothingness – Interactive composition for flute, violin, cello, piano and electronic music (2018/10′52″/ World Premiere)
Composer/Performer: Chu-Huan LO (Taipei, China)
Flute: FENG Junshan (Central Conservatory of Music)
Violin: WU Xiusen (Central Conservatory of Music)
Cello: LI Wenyuan (Central Conservatory of Music)
Piano: GUO Haimeng (Central Conservatory of Music)

“Nothingness” in brief:
“Nothingness” for flute, violin, cello, piano and electronic music is playing from one of William Shakespeare’s four tragedies, King Lear, which depicts King Lear assigning his estate to two flattering daughters. As a result, there are many sad and terrible events, including the death of Lear and his three daughters, who kill each other or is killed. The tragic consequences of mad King Lear have formed an empty situation in the end of life.

The sound samples of these instruments are used as the main raw materials in this work. The digital processing techniques including granular synthesis, digital sampling, filtering, ring modulation, time stretch, spectral delay, and etc. are used to transform the timbre and to create special rhythm and texture. Based on the aesthetics of musical tension, processed samples are superimposed and arranged to create new soundscape and musical form to present a sad and regretful auditory feeling.

6. Mysterious Environment – multimedia Electroacoustic music (2018/4′58″/World Premiere)
Composer/Video: YE Wan (Nanjing University of the Arts)

This work describes the bats’ endless exploration in the mysterious environment. Through this mysterious environment of virtual space, trying to imagine and portray the sound scene map that bats perceive the world by ultrasonic. The first part is that the bats follow the ultrasonic flying into the mysterious environment. The second part is the situation that the bats explore in the mysterious environment and collide with different medium. The third part is that the bats use the ultrasonic guidance to find the exit and fly out of the mysterious environment.

7. Firefly – for flute and electronic music (2018/6′30″/World Premiere)
Composer: Jen-Yueh HSIUNG (Taipei, China)
Flute: ZHENG Qisheng (Central Conservatory of Music)

Flute solo and electronic “firefly”, designed to trace the traces of fireflies, with flute solo and electronic tracking and answering, depicting the subtle radiance of the dark scene, and even the gloried light in the local climax, and ending at the music It tends to be calm, ending with a long gradual change to the disappearance of the air, indicating the gloom of the short-lived brilliance.

From the gradual change of the aeroacoustic to the real sound, the gradient of the gas shock amplitude is dominant, and the jump pattern connected to the upward direction becomes a feature of the melody, and describes the position of the fire point, which is matched with a short sounding note with a long sound. As the main motivation, the picth-set (0,1,6) is used as the material source of the sound, and emphasizes the four-degree interval derived from the sound class, combined with the combination of motivation materials, value-added, impaired, and strong. The gradual expression of the expression is the development of the technique; and the density of the notes is the main driving force for the tension of the music.

8. Breathing – for cello, electronic music and Video (2018/6′20″/World Premiere)
Composer/Video: QI Mengjie (Maggie) (Central Conservatory of Music)
Cello: Thea Mesirow (USA)

Breathing is so essential in our lives; sometimes we take it for granted, and never perceive and appreciate it. It means the aliveness of our body, the pace of our mind, and even the freedom of being able to be alive and be active.

The composer tries to create a meditative musical space for the audience to experience their own breathing, with the timbre varies between the original cello sounds and the synthesized sounds in the electronic music, people will perceive their own pace through intensive sounds and relaxing sounds. All the images develop to abstract phantoms following the development of the sounds.

9. Aquatic cubes – interactive real-time performance for flashlight, Processing and Ableton Live (2018/10′00″/World Premiere)
Composer / Performer: LU Peiyue (China/University of Oregon)

A cube is a simple, solid, and symmetrical three-dimensional shape; however, when the cube is conceptually combined with the elegance of the movement of water new complexities arise. Aquatic Cubes is a real-time interactive multimedia work for a single compact flashlight, Processing and Ableton Live that consists of both live generated music and visual domain animation. In my composition I work to depict the subjective representation of both the visual and sonic dimensions of water and its movement. The sound sources for this piece were derived from percussion, synthetic sounds, and audio recordings of water. The hybridity of the concrete and abstract sounds combined with visual domain animation strive to unfold my interpretation of the world of water.

10. Art of War -for suona, voice and multi-channel electronic music (2018/7′04″/World Premiere)
Composer: MI Wenbo (Central Conservatory of Music)
Suona: WANG Zhanzhan (Tianjin Conservatory Of Music)

1: The warrior array is the “Ming war”.
2:The array of advisers, namely, “secret warfare”, is a success or failure.
3:To borrow troops as a battle, namely, “metaphysical warfare”, to borrow the forces of ghosts and gods from time to time.
4:Defeat each other — attack and defend, retreat in order to advance.

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