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Music Program
26th, Oct, Monday
Concert series（1）
【AKOUSMA】- Opening Ceremony Concert
Time: 26th, Oct, 20:00
Place: Concert Hall, CCoM
■ 【Samsa study】－for flute, violin, cello, percussion, visual and electroacoustic
music （2015/5／China Premiere）
Composer, sound distribution: Juan Ortiz de Zarate (Argentina)
Flute: Xiong Feng (China), Violin: Yi Jingming (China)
This piece is a kind of study of a major piece in process of composition: The
Metamorphosis, by Franz Kafka. The title “Samsa study” corresponds to the
initial of the main character: Gregor Samza.
The Metamorphosis is a key piece in literature of XX Century. In this novel,
Kafka preannounces the catastrophes that occur a few years later. It is a
metaphor that interpellates us, as individuals and as members of Latin
American societies, defined by the most brutal social, economic and cultural
contradictions. How we deal with the “different”, with the “other”? The
transformation of the main character in an insect is obviously a metaphor
where our societies are reflected. How to deal with the poor, the sick people,
the elderly? All of them are part of the society but we (as a society) see them
as alien, as different, as menacing. We need to reaffirm our identity though the
crystallization of the “other” as scapegoating, the father of all evil.
■【Rouge d’été】－Electroacoustic music（2002 /10’28’’/China Premiere）
Composer, sound distribution：Elzbieta Sikora (Poland/France)
In 1970 L`incertitude d`étè (The Uncertainty of Summer), where the bell tolls
around the jumbled notes of a Chopin Mazurka, the music reflects, in its
analogous way, the very Polish summer of that troubled period. Thirty years
later, in this new composition, it is the sequence of hot summers, so hot that
the air trembles in its own reflection,that comes to the fore thanks to digital
processing. Here the rhythm becomes the driving force, the constructive
element of the music that plays on the color red, the red of dance, the red of
joy, the red of war, the red of anguish and the red of a flamboyant sunset that
so often presages a storm.
Commissioned by IMEB Bourges
■【The Lost Sound】—for Vocal Performance and Interractive System
（2015/10’/World Premiere）
Lyrics, Composer, Live Electronics: Ping Jin（USA/China）
Vocal, Performance: Fay Wang（China）
Video Programer, Live Video: Ma Shihua（China）
Sound Programer, Live Sound: Wang Xinyu（China）
Some great music works have been ignored and forgotten after being created.
To the music world, those great pieces do not exist. Yet, the music and their
composers have no intention to maintain the status quo. They have always
tried to communicate with someone and to exert their influence on the music
world. On a very rare occasion, they can find a particular female composer
who has the right mind, right heart, at the right time and place, and is able to
hear them. That’s where our story starts.
■【Xūn [ Old / New] 】－for Xun and electroacoustic music (2015/13’30’’/ World
Premiere)
Composer, sound distribution：Leigh Landy (Holland/England)
Xun: Li Yue (China)
The story of this work starts when the President of the Shenyang Conservatory
of Music gave the composer a gift of a replica traditional xūn from Liaoning
Province asking him whether he could make an electroacoustic composition
with this instrument. This work, the successor of the Musicacoustica 2013
commission, “China / Music Old / New” is the result. Its source material
consists of samples taken from a recording made at the Tianjin Conservatory
of music in June this year. Only one sound was transposed to support musical
coherence; all others are exactly as recorded. Li Yue played pieces and
recorded various techniques on four different xūns; it is this material that has
been recomposed on the 8-channel recording. The goal is to celebrate the
xūn’s rich tradition and demonstrate that it can sound very new, too. It has
been composed exclusively for Li Yue who will play its premiere tonight.
■【The Eighth House】－for Cello and electroacoustic music（2014/ 9’10’’/China
Premiere）
Composer, sound distribution: Fay Wang (China)
Cello: Zhu Yibing (China)
In astrology, the eighth house is considered the most powerful and intense. On
the one hand, it’s called the House of Sex – the cello is a very sensual
instrument to me, since it’s shaped like a human body. In writing the piece, I
wanted to explore the maximum of possibilities of the interactions between the
cellist and the cello. There are many gestures and sounds that represent the
tensions and flexibilities of the instrument as a kind of copy of the human body.
On the other hand, the eighth house is also called the house of death, secrets,
darkness, transformation and regeneration. In the piece, many fragmentary
gestures that die out or recombine into different shapes. It’s like death and
regeneration. Also at many places, the electronics, synth sounds and
pre-recorded materials follow with cello, which are like the shadows of the
subjects. Itath, secrets, darkness, transformation and regeneration. In the
piece, many fragmentary gestures that die out or recombine into different
shapes. It’
■【Gongs of Tiny Insects】－Electroacoustic music（2005/10’/China Premiere）
Composer, sound distribution: Jeffrey Stolet (USA)
Gongs of Tiny Insects is a fixed media acoustic composition that was primarily
assembled in Tokyo during the week of the 60th anniversary of the world's first
atomic bomb attack. The complete title of the composition in English is:
Gongs of tiny insects swarming over still bones, their tears cool still hot ashes,
sizzle fills the air.
■【Dancing Ink】– for Xun/Xiao/Di, Erhu, Pipa, Zheng, Percussion, Electroacoustic
Music, Video Animation and Multimedia Performance （ 2015 /17’20”/ Video
Animation and Multimedia Performance Edition World Premiere）
Musical Composition and Electroacoustic Music: Xiaofu Zhang（China）
Video Animation: Lampo Leong （USA）
Performance: Chinese Simple Folk（China) – Xun/Xiao/Di: Yue Li（China）, Erhu:
Feifei Song（China）, Pipa: Jia Li（China）, Zheng: Ning Wang（China）, Percussion:
Kai Bai（China）
Multimedia musical work, Dancing Ink, captures the rhythmic gestures,
dynamic expression, magnificent spirit and grandeur of Chinese calligraphy
and ink painting. The diverse characteristics of brushwork are represented
by four integral movements: 1) sonorous cadence; 2) ethereal gracefulness; 3)
contemplative quality; and 4) dynamic forces. Incorporating video animation
of psychedelic ink washes and energetic brushstrokes with dramatic music
from electronic and Chinese instruments, this multimedia performance reveals
a transformative experience in the digital age, while at the same time, it
celebrates the miraculous vitality, the cosmic energies, and the enigmatic
process of the creation in the universe. This work is commissioned by
INA-GRM, first performed in Paris, French, in 2015 and the Beijing
performance is the world premiere of it’s multimedia video animation edition.
27th, Oct Tuesday
Concert series（2）
【Autumn Song】- Daniel Teruggi Concert
Time: 27th, Oct, 19:30
Place: Concert Hall, CCoM
■【Transmutations】－Electroacoustic music ( 2009 /20’/China Premiere )
Composer, sound distribution: Daniel Teruggi (France)
Music, in its historical groove, has taught us that to think of “musical” sounds
and of other sounds. The Twentieth century has opened our ears to these
other possible sounds and potentially to all the sounds of the world. I have
often thought that any sound could be good for making music. This is a generic
thought, in which the components of music have little influence regarding the
power of the possible sound modifications and the metamorphosis that their
organisation and contextualisation in time and space may produce regarding
their initial meaning.
I am now less convinced of this approach… the richness of the initial sounds
used in a musical composition, transcends the whole work and determine its
character. A very simple sound, in its spectral organisation and morphology,
would have lots of trouble to climb high musical heights! However; this was the
initial challenge of “Transmutations”; to use any sound to make (what I
consider) a good music. This is how I choose, almost by chance (“almost”
means that I would never work with a sound I would reject), among isolated
sounds extracted from music, or directly recorded.
An incomplete inventory would show:
- A sound recording specifically done for the work
- A defective sound recording
- An accidental sound recording
- One measure extracted from a well known opera
- A musical Mexican myth extracted from a CD I got from a gas-station
- A chord extracted from a ballet
■【Struggling】－for percusison and recorded sounds ( 2000 /17’／China Premiere)
Composer, sound distribution: Daniel Teruggi (France)
Percussion: Thierry Miroglio (France)
Percussion sound shares sound richness with electroacoustic music. It is very
tempting and exciting to cross both worlds and bring out new relationships
between sounds. The work on complex rhythmic structures developed by the
percussionist interacts with parallel structures that diverge and stop within the
recorded sounds. The flexibility and violence, that is to say, contrasts, play a
central role in the work of the percussionist.
This work is dedicated to the vitality and beauty of the work of percussionists.
■【Springtime】－Electroacoustic music ( 2013 /16’/ China Premiere)
Composer, sound distribution: Daniel Teruggi (France)
Commissioned by the ZKM, Karlsruhe for the Klangdom
Springtime is a trip in our heads, a closed space where we wander around
without really looking for anything but hoping to make many discoveries.
Among them there is Spring who may spring and bring us different perfumes,
sensations and expectations.
My own voice appears here, being a part of the trip, however changing its form
when approaching different realms. Space is always circular and surrounds
the listener through movement and precise location of the sound sources.
Springtime is the last of four works, all related to seasons: Instants d'hiver,
Summer Band, Autumn song, and now its time for Spring.
■【Autumn Song】－for Piano and electroacoustic music ( 2008 /17’/China Premiere)
Piano: Mahoko Nakano (Japan)
Autumn displays its colours and shades and invites us to contemplation and
introspection. I have often used seasons as references for my music: “Instants
d’hiver” in 1993 presented short sound stories from different winter situations;
“Summer Band” in 1995 for Bandoneon and tape recreated the warm sunny
colours of Argentina. Today it is with the piano that I approach this description
about Autumn, with its specific emotions and preparations for the Winter and
the Spring that will come next.
Several moments compose the piece, piano, recorded sounds, together and
separately. As the weather changes, sounds and melody change, always
keeping the same aroma, the same melancholy, the same introspection.
This work is dedicated to my friend Folkmar Hein and to the memory of his wife
Heidelind
28th, Oct, Wednesday
Concert series（3）
【Turenas】－GRAME Concert
Time: 28th, Oct, 19:30
Place: Concert Hall, CCoM
■【Turenas】－for four percussions and live electroacoustic music
（2011/10’/China Premiere）
Composer: John Chowning (USA) Version arrange: Laurent Pottier (France)
Percussion: Wan Xingzi (China), Feng Piaoyang (China), Li Kaiwen (China), Liu Jia
(China)
Sound distribution: Laurent Pottier (France)
Turenas is a masterpiece in the history of computer music. Written in 1972 by
John Chowning, it introduced and combined what were then two revolutionary
technologies: FM synthesis and sound spatialization. All the piece’s sounds
were synthetized by a computer using the FM synthesis technique developed
and described by the composer himself a few years earlier. It was also a piece
in which sounds were spatialized and moved around the audience using the
concept of virtual acoustics. Until now, Turenas existed only as a piece of
electroacoustic music for 4-channel tape. Though meticulous analysis, Laurent
Pottier has recreated at CIEREC (France) all the synthesizers used for the
original, and realized a version for four percussionists. He present today a new
version of the piece (China premiere) where all sounds are synthetized and
controlled in real time by the musicians.
■【Cielo Vivo】－Electroacoustic music（2006/10’30’’/China Premiere）
Composer: Vincent Carinola (France)
Sound Distribution: James Giroudon (France)
Cielo vivo (alive sky - or sharp sky) takes as a starting point some words of F.
Garcia Lorca’s “Poet in New York”. Two words in particular can summarize my
intention in this composition: “...all the forms keep interlaced frantic expression
in advance «. The piece is based on a work of dephasings inside a pulsation
subjected to light variations of speed, the “pulsated” sounds being the same in
constant evolution in their color, tone, forms, pitch or space locali- zation. That
constitutes one polyphonic texture which seem to be stable but is always
moving.
Some figures exploiting the ambiguity in the recognition of the sounds (voice?
noises? instruments?) punctuate the piece.
■【Musica mobile 1：Septieme ciel】－Interactive multimedia
(2001-2012/16’40’’/China Premiere)
Concept music and video: Pierre’ Alain Jaffrennou (France)
Support for realization: Christophe Lebreton (France)
Sound distribution: Yann Orlarey (France)
Production and musical realization: Grame, national center for contemporary music
Musica Mobile is a musical concept implemented from a electroacoustic
diffusion set up of eight loudspea- kers surrounding the public. It brings into
play a space-time vision of the sound events which is expressed at the same
time by a dynamic in the space generated by the diffusion set up, extreme
swiftness in the trajectories of the sound and by amazing effects of sound
transmutations.
Musica Mobile is not based on rigid writings, but is calculated in real time
starting from algorithms largely calling upon random procedures. Thus, if the
musical structure itself is well defined by a program, a great number of musical
parameters varies from an execution with another, then leaving an important
place given at en at rting from algorithms largely calling upon random
procedures. Thus, if the musical structure itseon and a piece of concert.
Musica Mobile is incarnated in eight microtonaux virtual pianos.
Musica Mobile is written by using CLCE crotonaux virtual pianos. given at en
at rting from algorithms largely calling upon random procedures. Thus, if the
musical sramming language Lisp which was founded on Midishare, system of
exploitation real time also developed in Grame and prize-winning on several
occasions.
■【Lecture, le plein, le vide】－Electroacoustic music （2015/14’ /China Premiere）
Composer, sound distribution: James Giroudon (France)
This is the central part of «Transparence Tryptique» realized with the musician
and composer Yi Ping Yang. This part is still, in opposite of precedent period
(«Echo de soi» ). In a soundscape of rain and gongs resonances, fragments of
texts Gherasim Luca gradually emerging. Silent lips, spoken voice and
recorded words develop a kind of confusion.
« Entre le moi de ta voix et la soie de tes doigts » marks the beginning of the
«meantime» and of this reading of the text itself. Gherasim Luca words are
excepts from «Héros-Limite» « La fin du monde » and « Autres Secrets du
Vide et du Plein ».
The end of this musical readind mixes with the video of Scottie Huang : « Life
of a dandelion »
■【Mutations of matter】－Interactive multimedia（2008/14’ /China Premiere）
Composer, sound distribution: Roque Rivas (France)
Video: Carlos Franklin (France)
Sound distribution: Yann Orlarey (France)
Through the study of Rem Koolhaasixes with the video of Scottie nd of this
reading of the text itself.largely calling upon random proosite of precedent
period (ally emerging. Silent lips, spoken voice and recorded words develop a
kind of confusion.me also complementary contributions, in words of media and
personal universes, enabled to elaborate an audiovisual performance which
mingles electro-acoustic music, video, architecture and voice. These items
rebuild the mixing, the coincidence, the variety and the accumulation one can
find in New York City. The spectator wanders through a city – already
imaginary – thanks to a ringing spatialization, a witness to depth and travelling,
as well as a visual editing upon two screens where verticality asserts itself and,
from time to time, anamor- phosis oppose itself.
Concert series（4）
【 Sound·China 2015 】 - Concert of Electroacoustic Music and Chinese
Instruments
Time: 28th, Oct, 20:30
Place: Concert Hall, CCoM
■ 【 The legend of Chu and Han 】－ for Pipa, Zheng, Chinese Percussion and
electroacoustic music（2015/13’30’’/World Premiere）
Composer, sound distribution: Wang Haixu (China/Central Conservatory of Music)
Pipa: Li Jia (China), Zheng: Wang Ning (China), Percussion: Bai Kai (China)
This work is the third piece of the suite ‘Reflection’, for zheng, Pipa, ethnic
percussion and electronic sounds.
‘Music can’t without sound, Any type, any style of music is so. Because the
sound can give people the most visual impact, feelings and unlimited reverie
space.
Whether any sound of musical instruments, or the sound of nature; Whether
representational or abstract sound. For me, These are the ‘notes’ of
composition.
For this work, whether three kinds of musical instrument sounds, or electronic
sounds,In my eyes, they are just a symbol, it is 'sound'. Although in the form of
music with different musical instruments and electronic sound, but my concept
of creation is to work as a acousmatic music creation.’
The main idea of this piece is to taking notes as sound material to compose
music, On the contrary, taking the sound material as notes to create music.
■【Lin Chong Fled at Night】－for Peking Opera Singer and Electroacoustic music
（2015/7’/World Premiere）
Composer, sound distribution: Qi Mengjie (China/Central Conservatory of Music),
Opera Singer: Cao Yu (China)
This story was originated from Water Margin, one of the most famous Chinese
classical novels. It depicts the experience when Lin Chong got persecuted
from Gao Qiu then to seek shelter in Liangshan County. In the original Peking
Opera, the singer himself presented the whole experience and psychological
changes with the arias and performance.
The composer disorganized the order of the original arias but still based on the
melodic lines, and deconstructed the arias into spot-like and line sound objects,
then reintegrated with percussion voices into a new entirety. There are two
sections in this composition, the first one is finding the escaping way at night,
lodging in an old temple. The mysterious night and the sadness were depicted
with metallic percussions in this section. The second section is the monologue
of the figure expressed by the arias and spoken parts, to convey the anger and
the conviction belief of Lin Chong. By means of the granular synthesis technics,
the line-like sounds are converted into spot-like sounds, and they stand out
even more in the late night environment, the dramatic intension of the original
arias are strengthened after the electronic transformation. After all, this whole
piece created a perfect integration of modern electronic technologies and the
classic Peking Opera.
■【General’s Order】－for Dizi, Zheng, Chinese Drum, and Electroacoustic music
（2015/6’/World Premiere）
Composer，sound distribution: Wang Xihao (China/Central Conservatory of Music)
Di Zi: Liu Xiaolong (China), Zheng: Wang Ning (China), Percussion Bai Kai (China)
Inspired by the Chinese archaic music “Jiang Jun Ling (General’s Order)”, the
theme melody presents solemnity and infuriation. In respecting to the essential
factors, composer rearranged the original piece, blending some melancholy
and euphemistic colors to portray another image of the General’s inner world
of homesickness. The whole piece are divided into 4 sections – “San (Rubato)”,
“Man (Adagio)”, “Kuai (Allegro)”, “Ji (Presto)”.
MSP and GRM Tools were engaged to transform and reshape the acoustic
music instruments waveforms. With the combination to the traditional Chinese
instruments, the composer tried to explore an equilibrium point of new folk
music between abstract and concrete.
■【Pu An】－for Gu Qin and electroacoustic music（2015/10’/World Premiere）
Composer: Guan Peng (China), Gu Qin: Li Mengjie (China)
The works is selected from part of the ancient music piece"Pu An Incantation”,
by Chinese traditional instrument, Gu Qin and changed. “Pu An Incantation” is
not only famous Buddhist mantras, also is a famous piece by Gu Qin in ethnic
group Han. And it was written by Pu An Zen Master in the Southern Song
Dynasty. It is said that this incantation can pacify the world and eliminate
disasters. Holding and reciting it can have good weather and gain good luck.
The work “Pu An”, on the basis of the ancient “Pu An Incantation”(fragment), is
added with electroacoustic music. This mainly consists of Gu Qin music
samples, metal percussions such as bells, and changes. This work using this
combination, aimed at the performance of the pure ethereal artistic conception
of Gu Qin music, and Chinese traditional culture in the pursuit of the aesthetic
image of inner peace (the nature of the Taoism).
■【Beijing Chanting, Enchanted Beijing】－for Chinese Instrumental Ensemble and
Electroacoustic Music (2007-2015/14'/World Premiere)
Members of Simple folk Chinese ensemble
Peking Fiddle: Yan Luting
Erhu Fiddle: Song Feifei
Xun (clay flute)/Xiao (vertical flute)/Dizi (bamboo flute): Liu Xiaolong
Sheng (mouth organ): Ling Bo
Pipa (lute): Li Jia
Zheng (zither): Wang Ning
Zhong Ruan (round-shaped lute): Qi Wenduo
Yangqin (dulcimer): Tian Chao
Sanxian: (three-stringed lute): Chen Jingjing
Percussion: Bai Kai, Chen Sihan
Beijing Chanting, Enchanted Beijing put forward a new way of presenting
electroacoustic music with traditional Chinese instrumental ensemble, paying
homage to the time-honored ancient capital of Beijing by praising its
cultural-historical connections to the soul China. The cultural identification of
the composition is highlighted by the juxtaposition of chanting of classical
Confucian primers for the children in the old times, along with
Sprechstimme-like readings of poems by Emperor Qianlong of the Qing
Dynasty, a symbol of high-appetite dilettante leader of the past. The interaction
between electroacoustic music and the instrumentalists presents a dazzling
dialogue between different times, cultures and spaces, reaching the climax
with the support of the enchanted chanting of human voices.
The first edition of Beijing Chanting, Enchanted Beijing was composed in 1997.
The 2007 version received very good reviews after performance at
Konzertvereinsall Wien. The latest version, using Chinese instrumental
ensemble, is a world premiere in MUSICACOUSTICA 2015.
29th, Oct. Thursday
Concert series（5）
【Arc】－GRM Concert
Time: 29th, Oct, 19:30
Place: Concert Hall, CCoM
■【Arc, pour Gérard Grisey】－Electroacoustic music (1988/8’/China Premiere）
Composer: François Bayle (France)，Sound distribution: Philippe Dao (France)
This piece, composed at the time of the death of GJune 1999 -arttice of sthetic
him, “neither tribute nor tomb but simple dedication. Between colleagues i
want to offer to the memory of G.G. this arc of harmonic energy, like a salute
infinitely conveyed in every direction of time and space. the sliding harmonic
theme-nucleus of a flexaphone e c theme-nucleuseusace. the sliding harmonic
theme-nucleusfinitely contemplative, then subsequently soaring and branching
in stellar swirling and sparkling [arklthis arc and its spectral colours will sound
and resonate in respectful to the kinship of our approaches.” (Bayle)
■【Horizons ou le point de vu d’un voyageur】－Electroacoustic music
(2015/15’/China Premiere)
Composer, sound distribution: Diego Losa (France)
Kilometers, fields, towns,
Everything seems so distant, behind this window…
The clarity of this Sunday blinds me, dazzles me, calms me.
I'm leaving the mountains, and now can see the plain
Everything is going so fast from this window
Moving, living, changing of hemisphere, creating, believing
Everything is magical out of this window
Ancient landscapes, a man walking along a trail,
Quiet, alone
The road becomes water, the field becomes sky, and me,
sat here,
contemplating the infinity
Season changing
Everything seems so unreal behind this window!
■【A battut】－for Percussion and support (2015/15’/World Premiere)
Composer, sound distribution: Christian Eloy (France), Percussion: Thierry Miroglio
(France)
A tribute to Ivo Malec
An exploration of relationships between fixed sounds whose origin are often
classical percussion and natural materials (metal, wood), and a percussion
ensemble with mixed metal and wood instruments, in an impossible dialogue,
just like with a mirror whose image remains obstinately reversed.
■【Dedans - dehors】－Electroacoustic music（1977/22’/China Premiere）
Composer: Bernard Parmegiani (France), Sound distribution: Philippe Dao (France)
“After the use of different forms of writing, allowing for the notion of sound
‘nature’ through different sound sources (see De Naturum Sonorum), there is
still
the very generous world of what I would call: ‘artificial’ noises (induced by
human activities) and ‘natural’ sounds. Noises are the indicators of daily life,
whether it be close or far in time or space. Natural sounds, nevertheless, hold
the ability to reach us in other ways. Their existence reveal a force and
energetic dynamics lost to us, but that we try and exorcise through inner
listening. Their recording amplifies our capacity to understand the logic behind
their existence. While listening to sound material, through interpretations and
expressions, we metamorphose what is inside and outside.
This last notion of metamorphosis is one of the driving principles behind this
suite: metamorphosis between the sounds to reflect changes: from fluid to
solid
(water/ice/fire); or movements (ebb, flow and wave), inspiration and
expiration; or even inner and outer passages (door/individual/crowd). Thus,
the perception of the object is not exactly what we would have wished for it to
be. Our music brings some of us together as it estranges others: each to their
inner world.” (B.P.)
■ 【 Fantasma Cortazar version 2 】－ for Percussion and electroacoustic music
（2015/22’/China Premiere）
Composer, sound distribution: Diego Losa (France), Percussion: Thierry Miroglio
(France)
Is this phantom, which can be a sound, an image, an ectoplasm, an absurd
thought.
Some thing strange that extends the belly of our society, and deploys his
devastating imagination. It’s 20 minutes of Sound immersion, which loses the
viewer into a maze of secrets and/or manipulated in live.
30th, Oct. Friday
Concert series（6）
【Ophelia】- Concert by Composers from Europe and North America
Time: 30th, Oct, 19:30
Place: Recital Hall, CCoM
■【 0^0 】－for percussion and interactive computer system (2015/8’30’’/China
Premiere）
Composer, sound distribution: Christopher Dobrian (USA)
打击乐：（中国）
In 0^0 for percussion and interactive computer system, the computer has been
programmed to respond automatically to the performer's musical input. 0^0 is
programming code for "Zero to the zeroth power." Zero to the zeroth power is
what mathematicians call an indeterminate form. In effect, it's equal to both 0
and 1; anything to the 0th power equals 1, yet 0 to any power equals 0. Even
those uninterested in math might be intrigued by the notion of a thing that is
the opposite of itself, both true and false at the same time. Artists may be
inspired by the idea of a work having indeterminate form. I'm mostly just
delighted by the resulting emoticon.
■【Deadly Melange】－Multimedia（2015/8’/China Premiere）
Composer, video: Nick Hoffman (USA)
Deadly Mélange is a variable duration work for live audio and video processing.
All sounds are generated by four sine wave oscillators, with visuals realized in
OpenGL. Both audio and video elements are generated in real-time. This work
uses no effects, no MIDI, and no pre-recorded sounds.
■【Reflets irisés】－for Piano and electroacoustic music（2005/16’/China Premiere）
Composer, sound distribution: Elzbieta Sikora (Poland/ France)
Piano: Mahoko Nakano (Japan)
This piece was composed in 2005, commissioned by IMEB, Bourges, for
William Latchoumia. The Scherzo from my piano concerto and the short piece
Alla brève for solo piano became the sources of inspiration for me. Reflets
irisés consist of ten fragments of about one minute each. My focus was to
conjure up glittering and sparkling sounds, with considerable internal
movement for both the solo and electro-acoustic parts. The work is initiated by
the soloist who gets involved in a tense dialogue of acoustic chiaroscuro, or
exchange of colors, between the piano and the recorded electronic part. And
here I also try to create an illusion of mobility of the recorded electronics
through the specific design of its harmonization with the instrumental score.
Despite the “immobility” of the electro-acoustic part, the soloist enjoys a
considerable freedom of expression. Nevertheless the time indications of the
electronic part do often tie the performer to the pre-determined time periods.
The electro-acoustic part was recorded in the Charybde IMEB Studio in
Bourges in 2005.
■【Ophelia】－interactive multichannel electroacoustic music for Wacom and Kyma
system（2015 /9’/World Premiere）
Composer, performer: Chi Wang (China)
Ophelia is a multi-channel real-time interactive composition for Wacom Tablet
and Symbolic Sound Kyma. The performer can chose to use realized in
Opefinger to apply X, Y and Z data on the tablet and control musical
parameters as well as re-synthesizing analyzed voice recording samples in
real time. The audio recording upon which the sounds of the composition are
based is the voice of Marie-Caroline Pons reciting the poem Ophelia by Arthur
Rimbaud.
■【Ecology Concerto for Bird Song, Amplified Woodwind and Laptop】
－for Clarinet and computer system（2015/10’/World Premiere）
Composer, sound distribution: Brian Lock (England)
Clarinet: Shi Ranwen (China)
Most of the music Brian writes has been for film and television, often very
‘mixed-up’ in terms of style - taking things from all sorts of genres, and of
course, using modern technology. He is also really interested in the idea of
image and music and how they combine in general; how much composers can
set-up and play with images in the mind and start to tell a story. That is how
this piece came about. This piece especially uses a lot of bird sounds,
recorded and artificial, to help conjure up familiar images in the audience's
mind. This piece is an attempt to marry together technological thought and
ideas from the cutting-edge of fusion, cross-genre, electronica,
electro-acoustic and contemporary classical genres into a meaningful
composition that people can easily connect with and that is largely the idea for
also structuring the piece within traditional classical forms.
■【12/8】－for Sheng and electroacoustic music (2013/10’/World Premiere）
Composer, sound distribution: Benoit Granier (France)
Sheng: Zheng Yang (China)
The title of the piece refers to 8 sounds and 12 notes. The melodic contour of
the piece is using a set of 12 notes (a series) that appears in different parts of
the composition. The series is based on the augmented fourth interval and
create most of the melodic treatment of the piece. The use of Tristan interval
(triton) interval refers to Schoenberg as being one of the composer favorite
intervals when creating series
The notion of eight (8) sounds refers to artist Gamin project (for whom the
piece is written for). In order to create a piece that connect with the idea o the
project, the player is asked to create 8 different type of sound, using technique
that allows the payer to create very different timbre using singing, blowing,
flutter tonging and so on.
■【eVanescens】－for Cello, sensor, live electroacoustic music and video
（2015/30’/China Premiere）
Composer, sound distribution: Todor Todoroff (Belgium)
Video design: Laura Colmenares Guerra (Belgium)
Video performance: Eva Giolo (Belgium)
Cello: Sigrid Vandenbogaerde (Belgium)
eVanescens is an interactive audio-visual performance, a journey through
various states, at the ever-shifting border between the real world and a
constantly reinvented onirical universe.
Composer Todor Todoroff and videographer Laura Colmenares Guerra
explore hybrid, singular and disturbing territories. With cellist Sigrid
Vandenbogaerde, they perform live acoustic, electroacoustic and video
elements.
The cellist wears a set of inertial sensors on her chest, arms and hands. These
sensors, that track her movements, are associated with sound analysis
techniques and gestural interfaces handled by the two other interpreters.
Together they control software that (re)synthesizes and multiplies sounds and
images in real time.
Combined, they increase the expressive possibilities of the instruments,
defining new musical gestures and offering innovative writing techniques.
At the intersection of the acoustic sound and its many metamorphoses, in an
intimate dialogue with the video image, eVanescens draws the viewer in an
uncertain world, between disturbing strangeness, lightness and feelings of
weightlessness.
31st, Oct. Saturday
Concert series（7）
【Dan Qing】－Closing Ceremony Concert
Time: 31st, Oct, 20:00
Place: Recital Hall, CCoM
■【Half step madness】- as the erhu and [513 classrooms] e-live orchestra
Conductor: Perry Cheng (China/China Conservatory of Music)
Technology: Zhao Yangguang (China)
Composer，Erhu: Wang Lei (China)
“Madness at Half Step” is an audio-visual concerto created for Erhu and six
MIDI keyboards. This song is inspired by the legendary story of Tang Yin, who
was the head of the “Four WU Families”, taking the examination held in the
capital. Using different musical images, this song attempts to depict the
frustrating experience of Tang Yin who took the metropolitan examination at
his thirties, got involved in the declared yesterday event due to contempt,
whose wife got remarried after he was removed from the office, decided to
give up his official career and travel around, lived on selling essays and
paintings, and got well-known finally. The whole song consists of 6 parts in the
first person narrative, respectively “Dream under the Phoenix Tree Shadow”,
“A Promising Young Man”, “Taking the Metropolitan Examination”, “Answering
the Eight-part Essay”, “Declared Yesterday Event”, “Taohuawu”. The whole
song combines the two sound sources of the original sound of Erhu and the
excitation electron sound with each other to create a false and true texture,
and takes the twelve-tone series of “Picking the Lotus across the River”by
composer Luo Zhongrong as the only material for pitch layout. Equipment
used are Cubase, Halion 2, and RolandGR-10.
■【Beauty Yu】－for Xun and electroacoustic music（2014/7’37’’/Beijing Premiere）
Composer: Cao Jie (China/ Wuhan Conservator of Music)
Xun: Ma Xiaoxiao (China)
Ms. Yu is the concubine of Xiang Yu - the Conqueror in Western Chu.
according to the legend, her appearance is extremely beautiful. Besides, she
owned great talent and dazzling dancing postures. She once accompanied
Xiang Yu when he was besieged on all sides. Hence, the beautiful myth
interpreters. Together they control software ts exquisitely depicts the moment
when Ms. Yu bided farewell with tears to Xiang Yu at the downfall of Xiang Yu
through description of three stages (be besieged on all sides - bid farewell by
sword dance - sad melody).
■【The She's Desire】－Electroacoustic music（2015/7’/World Premiere）
Composer, sound distribution: Jiang Chaoqian (China/ Zhejiang Conservatory of
Music)
A fire dancing with the She ethnic group’s desire.
A illustration of forefathers passing on the Shanha’s soul…
The works is originated from the composer’s experience in Jingning She
Village in Zhejiang Province of China, which begins with songs of the She
ethnic group. It uses the audio techniques such as particle synthesizer to
create the vocal sound of the She ethnic group to interpret the composer’s
thoughts and feelings in a She Village.
.
Technical Platform: Cubase, Protools, Max/Msp
■【Dan Qing】－for Gu Qin and electroacoustic music（2015/9'30''/World Premiere）
Composer, sound distribution: Wang Hefei (China/ Central Conservatory of Music)
Gu Qin: Mao Yue (China)
The traditional Chinese painting is based on ink, and supplied with scarlet and
blue colors which is also referred to the art of painting. As the oldest Chinese
instrument, Guqin reveals self-enlightenment associated with the essential
characters of clear, light, peaceful, and elegant for those literati people who
advocated inner spirit.
This piece is represented by three sounds of Guqin such as scattered notes，
overtone and press notes, combines electronic music sound sketches an
beautiful picture. The painting-like music portrays the peaceful mood by
blending the oldest and the newest music language unified calm, static, and
graceful.
■【Series of Journal II --- Ode to the Motherland】－ Live multimedia（2015 /9’）
Composer, live multimedia: Yuan Haoyi (China Conservatory of Music)
I want to share my thoughts and the methods of using new media with this
series of music to reveal the beauty of our contemporary oriental art. This
piece of music originates from a well known classical patriotic song. The lyrics
have had many different variations in different periods, each variation with an
accompanying singing style to complement it. I was really amazed by the
impressive changes this piece had undergone, and this is where I got the idea
to use multi-media, samples and video for the piece to express itself in its
fullness.
■【Chrysanthemum in the Rain】－Real-Time Interactive Music / Marimba &
Interactive Music System with Max/MSP（2014/9’/Beijing Premiere）
Composer, sound distribution: Chien-Wen Cheng (Tai Wan) 马林巴：
This piece portrays the strong vitality of chrysanthemum which resists rain and
cold in full bloom. Chrysanthemum may not be considered gorgeous or
fragrant but still show its elegant and refined disposition. The composition
makes use the timbral quality of marimba to simulate the sound of rain drops
through the repeated notes and patterns. The pitch set (0, 1, 2. 6) is used as
the dominant one to control the pitch content in this piece. Besides, through
the gradual change of pitch content, the vertical sonority moves from one to
another in a slow and smooth way.
■【The Bread】－for vocoder and sensors（2015 /6’30’’/World Premiere）
Composer/Programer/Actor: Shine Chao (China)
Performance/Acting: [Classroom 513] e-LIVE ORCHESTRA (China Conservatory of
Music)
Conductor: Perry Cheng (China)
Vocal, vocoder twisted voice, camera flashlight, physical vibration, players’
gesture, all above elements are combined to express the simple core: people’s
depressing, changing, obey and revolting when facing outside world. Because
of the drama was introduced into this piece, besides the music part, all players
are also actors. A standalone software was created for the realtime
performance, all the sensor messages are collected into the software and
results corresponding reaction. Midi message is created by the midi keyboard
and computer, then go to the GM sound source and Nord Modular
Synthesizer.
■ 【Trickle】－for violin and electro-acoustic music 5.1 multi-channels surround
system（2014/7’44’’/Beijing Premiere）
Composer: Dong Xiaojiao (China/ Shanghai Conservatory of Music)
Violin: Tian Boyang (China)
Trickle, refers to small water, continuous, gentle. Music is like this, and time
also.
In this line contains rich nodes, they are smart, flashing, colorful.
The trickle is imagined the flow of time, slowly walking.
As the world became tranquil, we can hear the sound of time and inner.
■【A Song of Cord and String】－for Game-trak controller, Kyma system
（2015/7’/World Premiere）
Composer, performance: Feng Jinshuo (China/ Central Conservatofy of Music)
A Song of Cord and String was based on the audio recording of a woman
vocal phrase. By using Kyma sound synthesis system these original audio
recordings are modified and transformed using the powerful algorithms the
Kyma environment offers. Using these modified sounds the composer
maintained the original cultural characteristics of ancient Chinese.
■【Green】－for Erhu and Electroacoustic music（icsstic mu/Beijing Premiere）
Composer, and Live Electronics: Chih-Fang (Jeff) Huang (Taiwan),
Erhu: Li Xiaorong (China)
Green” was composed in 2012, fusing contemporary music techniques with
instable tonality and varying timbre, traditional erhu and violin performing
techniques (such as harmonics, pizz., gliss. harmonics, etc.), to create a new
style of erhu performance. The music form is similar to fantasia, to incorporate
erhu performing with the emulated natural environment sound such as bird
singing, wind, water, etc., to make the effects of an unexpected light and
image. The listener can find the hearing from the visual effects including green
willow bending, windy climate, etc., therefore the rubato provides a space for
both listener and performer’s imagination. Finally the rapid pentatonic scale
and dissonant leaping interval combination supports the melodic segment to
conclude the piece. This piece performed in 2014 ISMIR international
conference Taipei, is dedicated to erhu performer Pei-Yu Liao.
■ 【Electronic Visual-Sound Partita: To commemorate the victims of the Nanjing
1937】－multimedia（2000/00/0000）
Composer: ZHUANG Yao (China/ Nanjing University of the Arts),
Video Producer: Xu Xiang (China)
The Music is based on a simple impulse sound signal. And the music structure
is created by modulating and converting. The electronic image in the video is
created by the sound automatically. Then they add lots of edited pictures
which have been taken in The Nanjing Massacre Memorial Hall in the video.
In the composition, the composer expresses the grieved scream to the
Japanese invaders who slaughter innocent people in Nanjing, 1937.
■ 【HuHuan】－for Clarinet and Sample of Vocal（2013 /9’30’’/Beijing Premiere）
Composer: Qin Shiyue (China/ Shanghai Conservatory of Music)
Clarinet: Yan Feng (China)
Father call the child's birth, children come into this world with crying. This piece
is created by the composer for his own son. Baby's voice is like the music from
heaven, pure and clean. In this piece, all the music materials are from clarinet
and the voices of the composer’s infant son. It also use the audio processing
technology for variant processing vocals and clarinet. The composer tries to
deliver the collision and fusion of virtual and authentic, furthermore, the desire
for human life.
■【Speak Softly Water】—for Electroacoustic music and video
（2013/5 ’11’’ /China Premiere）
Composer, video, sound distribution: Li Qiuxiao (China/ Zhejiang Conservatory of
Music)
The work inspired by Mr. Su Tong essay - "The secret of river"
"The soul of river floated on water of the river. You can not salvage the heart of
river no matter what a romantic web you weave, which is the biggest secret of
river." I apply various samples of percussion and try to show the infinite variety
of water in the whole music.
■【BLOOM】－for San Xian and National Academy of Chinese Theatre digital band
（2015/6’40’’/World Premiere）
Composer: Tian Zhenzi (China/ National Academy of Chinese Theatre Arts),
San Xian: Wang Lifeng (China), Percussion: Ma Rui (China)
Performer: National Academy of Chinese Theatre digital band
<BLOOM>is created for the Big Sanxian(Three-Stringed Chinese
Guitar)and digital band of live electronic music works. Works show the
Sanxian the traditional plucked string instruments in electronic music sound
environment for the bloom of brilliant colors, which many voices from trichord
different techniques in edit sample, through the real-time processing of the
field effect device, forming various fantasy electronic music effect. Digital band
is a part of the real time performance of the scene, the use of digital controller
to achieve sound simulation, simulation and personalized treatment.