Download Transit (2016)

Saturday26thNovember2016,7.30pm,RiverstownHall,MaynoothUniversity.
StevenYi
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Transit(2016)
2:44
“Transit”wasinspiredbylisteningtothemusicofTerryRileytocreateaworkthatinvolved
longfeedbackdelaylines.Ibeganwithamentalimageofperformersinaspaceworkingwith
electronicsandworkedtodevelopavirtualsystemtomimicwhatIhadinmind.Oncethesetup
wasdeveloped,Iexperimentedwithimprovisingmaterialliveandnotatingwhatfeltright.I
thencontinuedthiscycleofimprovisationandnotationtoextendanddevelopthework.
StevenYiisacomposerandprogrammer.HeistheauthoroftheBlueIntegratedMusic
Environment,authorofPinkandScoremusiclibraries,andcoredeveloperofCsound.Heholdsa
PhDinDigitalArtsandHumanitiesfromtheNationalUniversityofIreland,Maynooth.Inhisfree
time,heenjoyspracticingandstudyingT'aiChi.
BillAlves
-
StringFields(forviolinandcomputer)
6:00
violin:Maria-NoelleCreevey
BillAlvesisacomposer,writer,andvideoartistbasedinSouthernCalifornia.Hehaswritten
extensivelyforconventionalacousticinstruments,non-Westerninstruments(especially
Indonesiangamelan)andelectronicmedia,oftenintegratedwithabstractanimation.CDsofhis
audioworksincludeTheTerrainofPossibilities(EMF)andImbal-Imbalan(Spectral
Harmonies),andadvdofhisvideoworks,CelestialDanceispublishedbytheKineticaVideo
Library.HeistheauthorofthebookMusicofthePeoplesoftheWorld,thethirdeditionofwhich
wasreleasedbyCengage/SchirmerinSpring2012.OtherwritingshaveappearedinOrganised
Sound,PerspectivesofNewMusic,ComputerMusicJournal,SEAMUSJournal,1/1,and
elsewhere.In1993-94hewasaFulbrightSeniorScholarFellowinIndonesia,wherehestudied
thegamelanorchestramusicofJavaandBali.HecurrentlydirectstheHMCAmericanGamelan,
anensembleofspeciallytunedJavaneseinstrumentsdedicatedtotheperformanceofnew,nontraditionalmusic.HeisoneoftheorganizersofMicroFest,theannualSouthernCalifornia
festivalofnewmusicinalternatetunings.HeteachesatHarveyMuddCollegeoftheClaremont
CollegesinSouthernCalifornia.
LindaAntas -
AllThatGlittersandGoesBumpintheNight
7:50
Allthatglittersisn’ttreasure—butitglittersnonetheless.Noteverythingthatgoesbumpinthe
nightdoesusharm,andinfact,manythingsarenearlyequalparts“glitter”and“bump.”Iam
convincedthateverythingnegativecarrieswithitanequalmeasureofgood,ifonlywehavethe
skillstobeardifficultthingsinconstructiveways.
Theworkisareflectiononappearancevs.reality—onouroftendistortedperceptionsofgood
andbad,successandfailure,directcauseandserendipity—andonallmannerofassumptions.
Faultylogic,ignorance,andstrongemotioncaninhibitourunderstandingofthepeople,objects,
andsituationsaroundus,causingunduenegativity,unfoundedpositivity,andoverallconfusion
aboutthecausesofbothhappinessandsuffering.
Onatechnicallevel,theworkexplorestheparallelsbetweenmovingimageandaudioart,
includingthecreativeprocessitself.Thelinksbetweenthebasicelementsofthetwomedia
(texture,layer,color/timbre,density,andthescalingoftimeandfrequency),andmethodsfor
transformingthedigitaldatawereinvestigatedincreatingthiswork.
LindaAntasisacomposer,digitalartist,flutist,andeducator.Hercompositionshavebeen
performedandbroadcastaroundtheworldandarepublishedontheAblaze,Centaur,Media
Café,TauKay,andEMSlabels.AntashasreceivedcommissionsfromtheInternationalComputer
MusicAssociationandrecognitionfromtheMusicaNovaInternationalElectro-acousticMusic
Competition,theInternationalMusicContestCittádiUdine,andtheFulbrightFoundation.Her
currentresearchinvolvesaudiovisualcomposition,sonification,real-timesignalprocessing,and
physicalcomputing.
ShaneByrne-
Proprioception(2016)
6:00
ShaneByrneisacomposerofacousticandelectronicmusicandiscurrentlyaPhDresearcherat
MaynoothUniversityfocusingoninteractivityandparticipationwithinelectronicmusic
composition.In2013hecompletedhisBAinMusicTechnologywithfirstclasshonoursandin
2014completedanMAincreativemusictechnologiesalsoreceivingfirstclasshonours.
Hiscurrentworkisfocusedonphysicalcomputingandthepotentialforhumaninteractionto
addtoanoverallimmersivemusicalexperienceforboththeperformerandtheaudience.His
workhasmorerecentlyledhimtoinvestigatethepotentialforsuchinteractiontofacilitateand
encouragelearningamongstthelearningimpairedandtheautisticcommunity.
Healsoworksasasounddesigner,foleyartistandmixingengineer.Hisfirstloveisperformance
andregularlytakespartinimprovisationnightsandoccasionallyplaysgigswithseveralnoise
andprogressiverockbandsinDublin.
JoachimHeintz
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ATT…(2014-16)
1:48
EinkleinerGrußfürmeineLehrerinYounghiPagh-PaanzuihremAbschiedvomUnterrichten.
EineminimalistischeStudieübereineBewegungdesBeschleunigens/Begehrens/Greifens->
Verlangsamens/Zurücktretens/Lassens->Bleibens/Stehens/Fortdauerns,undeine
„Begleitung“durchferne,ungreifbare,sichandersbewegendeAkkorde.
JoachimHeintzafterstudyingLiteratureandArtHistory,beganhiscompositionstudieswith
YounghiPagh-PaanandGuenterSteinkeinBremenin1995attheHochschuleFuerKuenste.
DuringthecourseofhisstudiesinBremen,heworkedintensivelyintheelectronicmusicfield
andalsowithmixedmediasuchasvideo.HeistheheadoftheelectronicstudioIncontriatthe
HMTMinHannover(HanoverUniversityofMusicDramaandMedia),teachesAudioProgrammingattheHfKBremenandisamemberoftheTheaterderVersammlunginBremen.
Hecomposesbothforinstrumentsandelectronics,forconcerts,soundinstallations,
performancesandastheatremusic.HeisanactivememberoftheOpenSourcecommunity,in
particularinthedevelopmentofCsoundandCsoundQt.
INTERVAL
IainMcCurdy
-
AcousticCapacitance(2016)
7:00
percussion:SaulRayson
AcousticCapacitancepresentsaduetbetweenapercussionistplayingjustasnaredrumanda
cymbalandalaptopmusicianmakinguseoftransformations-through-convolutionofthetwo
liveinstruments.
Capacitorsfunctionbysettingtwoparallelconductiveplatesfacingeachother,separatedby
somematerialthatresistsconduction(thedielectric).Positiveandnegativechargescancollect
ontheopposingplatesbutwhenthischargedifferencecrossesathresholdforthatcapacitor,
chargebeginstopassfromthenegativelychargedplatetothepositiveone.
Thepiecetakesthismetaphortoinformhowtheacousticandelectronicsoundworldscan
confrontoneanother,andsimultaneouslyinsistupontheirinnatedifferenceswhile'leaking'
connectionsandsimilarity.
IainMcCurdyisacomposerfromBelfast,currentlylecturinginmusicatMaynoothUniversity.
Hisworkhascoveredtheareasofacousmatic,electroacoustic,instrumental,soundinstallation
andcross-disciplinaryworksinvolvingallfour.HisworkwithCsoundhasfocusseduponthe
creationofdemonstrationsofthesoftware’scapabilities,andmorerecentworkhascapitalised
upontheCsoundfrontend,Cabbage.Hisworkwithsoundinstallationsandalternativecontroller
designhasdrawninexplorationofelectronics,sensorsandinstrumentbuilding.
MassimoFragalà
-
Voce3316(2016)
3:00
Allthesoundsthatformthiscompositionderivefromtheelaborationofvocalsyllable.Starting
fromthisverysmallsample(0.31seconds)Itriedtochangetheoriginalcharacteristicsinorder
togeneratearangeofsoundsmoreolessdifferentcomparedtotheiroriginalvariety.Thiswas
possibleusingparticulartechniqueofsoundprocessingsuchasspectraltimestretching,
morphing,freezingandsustainingasoundonanexplicitlyspecifiedgrain,transposingcopiesof
soundontopofoneanother,etc.
MassimoFragalàgraduatedinElectronicMusicandinClassicalGuitar.Hismusichasbeen
selectedandperformedinmanyfestivalsandconferencesworldwideincludingICMC2003,
ICMC2005,FestivalZèppelin05,EARSoundsElectric2005,LAC06,ICMC2006,FestivalMùsica
Viva2008(SoundWalk),NWEAMO2008,TaukayFrammentAzioni2008,VoxNovus2008
(60x60project),LAC2011,Emufest2011,60x602012PianoForteMix,CsoundConference
2013,LAC2015,CsoundConference2015,etc...
OneofhiselectroacousticcompositionshasbeenpublishedonCDbyElectronicMusic
Foundation(EMF).
AlexHofmannandBerntIsakWærstad-
COSMOCollective
8:00
COSMOCollectiveisanopenmusicalcollaborationformusiciansusingDIYelectronicsand
customsoftwarewritteninCsound.Thereisnodefinitemusicalstyle,thoughitcouldbe
characterisedaselectroacousticimprovisation.Thefocusisontheexplorationofsoundand
timbre,ratherthantraditionalharmonicsandrhythm,andexploitingthepowersofCsound.
ThecoreofthegroupareAlexHofmann(saxophoneandelectronics)andBerntIsakWærstad
(guitarandelectronics),butaperformancecanconsistofanynumberofplayers.COSMO
Collectivehaveperformedseveralshowsaroundtheworld,includingNewYork,St.Petersburg,
Brisbane,Bergen,Boston,Berlin,OsloandTrondheim.
AlexHofmann(*1980)studiedsaxophone,improvisationandcomputermusicattheHochschule
fürMusikundTheaterHannoverwithMattiasSchubertandJoachimHeinz.Heworkedasa
sounddesignerandobtainedaPhDinmusicacousticsattheUniversityofMusicandPerforming
ArtsVienna,whereheiscurrentlyworkingasresearcher(http://iwk.mdw.ac.at/hofmann.htm).
BerntIsakWærstadisamusician,composer,sounddesigner,withamasterinmusictechnology.
HeiscurrentlyalecturerattheMusicTechnologygroupsatNTNUandNorwegianAcademyof
Music,asounddesignerandmixengineeratPipaLydbyråandworksfreelanceasamusician,
producerandsoundengineer.BerntIsakisalsoamemberofseveralmusicalconstellationsas
Vingelklang,T-EMP,LashingsoftheOldUltraviolentandCOSMOCollectivetomentionafew.
MassimoAvantaggiato
-
AtlasofUncertainty(2016)
5:10
“AtlasofUncertainty”isanelectronicmusicpieceinwhich
amicrocosmofsounds,exploredthroughsomecsoundinterfaces,becomesthehyleticuniverse
ofthepiece.
Heterogeneoussoundmaterialsareexploredthroughvarioustechniques(granular,
subtractive):kitchennoises,treatedbellstexture,electronicgeneratedwhipssoundsand
Granularaccumulation,Noisywhooshes,Chimes,Tibetanbowlsjusttonameafew.Thesounds
areherecombinedinwell-identifiableelectronicgestures.
MassimoAvantaggiatostudiescompositionatConservatorioGiuseppeVerdiinMilan.
Sincehismid-teenshehasconcentratedonexpandinghismusicallandscapeusingelectronics,
unusualrecordingtechniquesandcomputer-basedtechnology,allofwhichhelphimtodevelop
hisideaofsoundandcomposition.
HetookadegreeinElectroacousticCompositionwithHonourat“GiuseppeVerdi”
ConservatoireinMilanandadegreeasaSoundEngineer(RegioneLombardia).
HehaswrittenmusicforshortfilmsandinstallationsandalsomusicforTVadverts;hehas
recordedseveralCDsforvariousItalianandforeignlabels.
RecentlyhisinteresthasmovedtowardsMultimodalInteractioninVirtualEnvironments
(selectedforastage@AalborgUniversity,Denmark,2011)andtowardsadaptivesounddesign
andmusic(MusicandScreenMediaConference2014,Liverpool;ATMM2014,Ankara,Turkey).
Hehasrecentlyparticipatedin:EMUFEST2016(Rome),DiffrazioniFestival2016(Florence,
italy);ISSTA2016(Belfast);Cycleduson(FundacionDestellos,Argentina,2016),NAISA2016
(Toronto,Canada);SMC2016(hamburg,Germany);NYCEMF2016(NewYork,USA),
Soundthought2016(Glasgow),CsoundConference2015,SaintPetersburg,Russia;LINUXAudio
Conference2015,Mainz,Germany;
GiordanoNationalCompositionContest2014(finalist),ConservatoriodiFoggia,Italy;CIM14
ConferenceonInterdisciplinaryMusicology,Berlin,Germany;CIM2014,ConservatorioS.
Cecilia,Rome(Italy);ATMM2014,Ankara,Turkey;InternationalComputerMusicConference
2014,Athens,Greece;ICMPC-APSCOM2014,Seoul,SouthKorea;SlingshotFestival2014
(Athens,SouthGeorgia,USA);EMS2014(UniversitätderKünste,Berlin);MusicandScreen
MediaConference2014(LiverpoolUniversity);MusicasaProcess(ChristChurchUniversity,
Canterbury,England);FAS2013(SanJoséCostaRica);Contemplum2013(Philadelphia,USA);
PremioNazionaledelleArti/compositioncontest2013,Avellino,Italy;EMUFestival2010and
2013(Rome,Italy);Distanze2012(Catania,Italy);Segnali2012(Perugia,Italy);CSoundMusic
Conference2011(Hannover,Germany);IFIMPAC2011(Leeds,England).
RichardBoulanger -
CloningaDinosaur(2016)
7:30
Worldpremiere
ControlledandModulatedlivebyanassortmentofTheremin,Joystick,BrainWave,andPressure
sensors,this8-channelEuroRackModularSynthesizerperformancewillfeature:threeQu-Bit
Nebulaemodules(eachrunningandrenderinginreal-time,newvoltage-controlledversionsof
Boulanger’sclassicTrappedinConvertinstrumentsandasuiteofnewcustom“Qu-Bit_Csound”
orchestras);twoThonkMusicThingModular-RadioMusicmodules(eachplayinganumberof
pre-renderedcustomCsoundorchestrasas.AIFaudiofiles);andthreeAudioDamageODIO
modules(allowingforthemodularsystem’saudiotobesentto,andreturnedfromthreeiPads
runningBoulangerLabsCsoundforiOSapps-csJam,csGrain,csSpectral,andcsMorFFTthatare
doingCsound-basedaudioprocessing).
Backinthesummerof1979,whenIcomposedTrappedinConvert(attheEMSStudioatMITin
BarryVercoe’smusic11language,andthenreviseditattheMITMediaLabin1986toserveasa
beta-testsuiteforVercoe’sCsoundlanguage),ImodeledallmysoundsonthoseIwouldcreate
withmyARP2600analogsynthesizer.Now,some37yearslater,andtocelebratethe30th
anniversaryofCsound,Ihavecomefullcircle-makingCsoundsonmymodularsynthesizer-
thankstothetheQu-BitNebulae,(aEuroRacksynthesizermodulebuiltaroundaRaspberryPi
runningCsound).Iamincrediblyexcitedbythefactthatthisold“Dinosaur”isnolonger
“Trapped”andIlookforwardtotakinghimoutforarun!
Forme,musicisamediumthroughwhichtheinnerspiritualessenceofallthingsisrevealedand
shared.Compositionally,Iaminterestedinextendingthevoiceofthetraditionalperformer
throughtechnologicalmeanstoproduceamusicthatconnectswiththepast,livesinthepresent
andspeakstothefuture.Educationally,Iaminterestedinhelpingstudentsseetechnologyasthe
mostpowerfulinstrumentfortheexploration,discovery,andrealizationoftheiressential
musicalnature—theirinnervoice.
HlöðverSigurðsson-
LiveCodingImprovisation
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