Friday25thNovember2016,7.30pm,RiverstownHall,MaynoothUniversity.

JanJacobHofmann- ColouredDotsandtheVoidsinBetween(2014)8:05

Inthepiece"ColouredDotsAndTheVoidsInBetween"spatialtexturesofdot-likesoundsoccur.Thefieldscreatedbythatexpandandevolveinspaceandtime.Importantarenotonlytheeventsofsoundsthemselvesbutalsothethespacesinbetweenthese,whichexpandindifferentdimensionsspatiallyandtemporally,overlapandthuscreatetheactualspace.Allsoundshavebeengeneratedusingsolelythe"pluck"-opcode,whichsimulatesthesoundofapluckedstring.Thepieceisspatiallyencodedin3rdorderAmbisonicandhasbeencreatedwiththeprogramme"Csound"alongwithStevenYi'senvironmentforcomposition"blue".JanJacobHofmannwasborn1966inDuesseldorf,Germany.Diploma,branchofarchitectureattheFachhochschuleFrankfurt/M,UniversityOfAppliedSciencesin1995,workedthenatanofficeforarchitecture.EnteredtheclassofPeterCookandEnricMirallesattheStaedelschuleArtSchoolFrankfurt/Min1995,apostgraduateclassofconceptualdesignandarchitecture.DiplomaattheStaedelschulein1997.Worksasacomposer,photographerandarchitectsince.Soundandcomposition:Since1986dealingwithsound-compositionandelectronicmusic.Musicforperformances.SinceApril2000:Workonspatialisationofsound.SeveralinternationalperformancesinAmerica,EuropeandAsiasince.ResearchonAmbisonicandotherspatialisationtechniques.DevelopmentandpublicationofCsoundbasedtoolsforspatialisationvia3rdorderAmbisonic.DavePhillips - VosimDreamSequenceII(2014)

6:16ThispiecewascreatedwithCsoundinstrumentsdeployedinJean-PierreLemoine'sAVSynthesisenvironment.Themusicwasarranged,edited,andrenderedwithArdour.DavePhillipsisacomposer/performer/educatorlivinginOhioUSA.HisstudiesincludeclassicalguitarwithSophoclesPapas(WashingtonDC)andmusiccompositionwithMichaelJonFink(LosAngelesCA).HehasbeenanactiveuserofCsoundsince1989.Sincethemid-90shehasfocusedonusingLinuxasamusicandsoundproductionplatform,workingwithdeveloperstoimproveandexpandtheaudiosoftwareavailableforLinuxusers.Daveistheauthorofonebookandhundredsofarticles,allaboutLinuxmusicandsoundsoftware.Hehasalsocontributedtovariousotherdocumentationprojects,againallrelatedtoLinuxaudiotopics.HiselectroacousticcompositionshavebeenplayedinconcertsandfestivalsatBowlingGreenStateUniversity,VirginiaTech,andCCRMAatStanfordUniversity,andhecontinuestoperformasasologuitarist/singerandinvariouslocalgroups.

EnricoFrancioni - EndofTime(2005–13)4:30

Inmywork"EndofTime"IusedaGranularSynthesizer"Malström"whichusestwooscillatorsandtwomodulatorsthatareseparatedoutputandreverberatedindifferentways,inadditiontoCsoundforthespatializationinambisonic-octagonal.Theworktriestopositionitselfasanepisode,anevent,computermusicbeyondtimeandspace,just"theendoftime."EnricoFrancionigraduatedinElectronicMusicanddouble-bassattheRossini-Pesaro.HisworksarecarriedouttoOeuvre-Ouverte,CinqueGiornateperlaNuovaMusica,FrammentAzioni,CIM,EMUfest,VoxNovus,ICMC,Bass2010,Acusmatiq,etc.HeperformedtheworldpremiereoftheSuiteIF.Grillo.Fromauthorandsoloistwasawardedinnationalandinternationalcompetitions.HehasrecordedforDynamic,Agora,Orfeoandothers.Heisdedicatedtoteachingandhastaughtdouble-bassattheRossini-Pesaro.ArsalanObedian - CstückNr.2(2015)

5:05“AnexampleforBordersinone-dimensionalspacesistheupperandlowerlimitsofmathematics.[…]Examplesforspaceswhicharenotgeometricalarecommonbehavioursorpersonalintimacy.”(translationfrom:de.wikipedia.org/wiki/Grenze)Thedreamy(ornightmarish)sonicspacesofthespokenword“Grenze”(“border”or“borders”),createdwiththehelpofgranularsynthesis,appearasfieldsofsound.Withinthem,shapesriseandfallwhich—afterdisappearing—emergeinanotherlevelorenvironment.Thisissimilartothebordersbetweencountries:Allidentitydisappearsinthemiddleofanoman’sland,thesphericalgreyzonewhichcontains,ontheonehand,thecharacterofthetwoborderareas,butontheotherhandhasitsownindependentexistence.WritteninCsound,CstückNr.2developsbetweentwoprincipalsoundsources.Itremainsbetweensoundandnoiseandcreatesamorphingbetweenthesoundcolorsandcharactersofvoicesandbrassinstruments.Inthisprocess,the“between”,theforeign,canbeseennotonlyasatransition,butalsoasanewsoundfield.ArsalanAbedianwasbornin1984inTehran,Iran.In2007graduatedfromAzaduniversitywithabachelor’sdegreeincomposition,in2011fromArtuniversityofTehranwithamaster’sdegreeincomposition,in2014fromHanoverUniversityofMusic,DramaandMediawithamaster’sdegreeinelectroniccomposition,andin2016gotaSoloklasseKonzertexamendegreeincompositionfromthesameuniversitywherehestudiedwithOliverSchneller,JoachimHeintz,GordonWilliamsonandMingTsao.Heisafoundingmemberof“YaravaMusicGroup”(oneofthefewensemblesandsocietiesfornewmusicinIran).In2009heestablished“ContemporaryMusicRecords”inTehran.Since2003hehaswrittenandtranslatedmorethan40articlesaboutcontemporarymusic,inpersianmusicjournalsaswellasin“MusikTexte”(2014)and“LexikonNeueMusik”(2015)inGermany.HisworkshavebeenperformedbydifferentensemblesindifferentfestivalsinGermany,Denmark,France,US,Uruguay,RussiaandIran.

AnthonydiFuria - PianoSelvatico(WildPlane)(2014-16)11:59

SynopsisThetimelinelivesinaninfinitedimensionalsoundspace,inhabitedbyzonesoftemporalsuspension.Fromthistimeline,threedifferentsitescometolifeinthePianoSelvatico(WildPlane).Thefirstismadeofthetimeframesoflivingreality,asimplepointofviewonsoundmomentsextractedfromthesoundscape.Inthesecond,theselivingmomentsencounterimaginarysounds,designedtosculptthesurfaceofreality,shapingitalongdifferentprofiles.Inthethirdsite,thefoundationsofbothrealityandimaginationfallapart,andtimeiscrystalized.Thezonesoftemporalsuspensionemerge,populatingnewdimensionsinthesoundspace.Timesublimatestryinginvaintocalmdisorder.DescriptionThework“PianoSelvatico”istheresultofthreeresidencies,betweenthespringof2014andthesummerof2016,withinthetrans-disciplinaryresearchprogram“Transformation”,fundedbyPianpicolloSelvatico:anewlyestablishedhomeforresearchdirectedbyAliceBenessia,afarmforexperimentsintheartsandsciencesinthewildruralareaofAltaLanga,inthenorthernItalianregionofPiemonte.ThecompositionherepresentedisasynthesisofPianoSelvatico,inwhichthefarmanditssurroundingsareexploredinthreesteps:1)thedescriptionoftheoriginalsoundreality,recordedindifferentseasonsduringthecreationofanextensivesoundarchive,2)theinteractionbetweenthesoundscapeandalayerofsynthetictextures,and3)thecompletetransformationofthesoundscape.AnthonydiFuriabeganplayingthedrumsatage4,pianoat6andviolinat11.In2004hegraduatedinguitar,theoryandarrangement(PercentomusicaofRome).HestudiedcompositionattheConservatoryofFermoandElectronicMusicattheConservatoryofPesarowithEugenioGiordaniandDavidMonacchi.Bachelor’sdegreecumlaudeinMusicandNewTecnology-ConservatoryofPesaro.HeapproachestheworldUnix/LinuxandFreeSoftwarethankstothefriendshipofthefoundersofILDN-ItalianLinuxDistroNetwork.HeworkedasassistanttoAmbisonicsSpatializationinthemultimediaperformance“DeDivinaProportione”-SimoneSoriniandDavidMonacchi,asSoundDesignwithStefanoVinciarelliintheTheaterShow“Lafuga”(Escape)atthepresenceofauthorGaoXingjian,NobelPrize2000.In2012,inpartnershipwithEugenioGiordani,AnthonyrealisedaLiveElectronicsfortheconferenceshow“Bestiariofilologicoefantastico”-ErmannoCavazzoni.InMay2014,hetakespartintheFKLSOUNDSCAPEMEETINGinFlorencewithRad’ArtProjectandheplaysintheLinuxAudioConference2014-ZKMinKarlsruhe,Germany.InAugust2014,Heworksonthehisproject“Beyondthehumanatom”forasite-specificresidencyinLACHAMBREBLANCHE(QuebecCity)-exchangeprogramwiththeartisticcenterRad’ArtlocatedinItaly.Mostrecentlyheworkedasanalystandsoftwaredeveloperfortheproject“Fragmentsofextinction”byDavidMonacchi.HisworkrangesfromSoundResearch,SoundDesigner,Programming,LiveElectronics,SoundInstallations,SpatializationTechniques,SoundEngineerandFieldRecording.

INTERVAL

MatthewGeoghegan - Nunc(2016)4:11

Thesoundsusedinthiscompositionoriginatefromvarioussources:abrokenacousticbassguitar,aseriesofglassbottlesandastraw-stuffedornamentamongotherthings.Theprocessingusedmakesparticularuseofspatialandspectraltransformationofthesourcerecordings.Thispiecetakesthelistenerthroughseveralalienenvironments,interactingwithhis/hersurroundingsandobservingthemovementsofwordlesscharacters.Nuncisanexperimentinnewterrainformeasacomposeranditsnarrativeexistsasaplayfulreferencetothisexploration.Iamamusician&composerfromWicklow,Ireland.Comingfromabackgroundofperformingandproducingmodernpopularmusic,myinterestsbroadenedwhilecompletinganMAinCreativeMusicTechnologiesin2016.BeingintroducedtotoolssuchasCsoundopenedupaworldofpossibilitiesformeasacomposer,whichIwilllikelybeexploringthroughouttherestofmymusicalcareer.Johnffitch - InMemoriam:BeaumontHamel1916(2016)

6:40AfterbeingpartoftherearguardatGallipoli,mymaternalgrandfatherwasatBeaumontHamelin1916;IhaveneverdiscoveredwhathewasdoingtherebutasacoalminerhemayhavehadapartintheHawthorneMine.UnlikesomanyothershesurvivedtheSomme,andmadeittocease-fire,pickingupaDCMontheway.Itclearlystayedwithhimuntilhisdeathin1978,buthewasforbiddentotalkaboutitbygrandma.ThispiecegrewfromhearingastringquartetbyLaszloVidovszky,butdevelopedtosomethingdifferent.Itisdiscordant,maybedisturbingandhasbeendescribedasthewailingofthedeadtryingtogettoparadise.Oritisjustthispiece.RememberingCorporalWilliamTaylorDCM,Yorks&Lancs,1887-1978,andPrivateAlbertArthurHeath,ColdstreamGuards,1896-1915.11Nov2016Yorkshire-bornJohnffitchwaspartiallyeducatedatanEastAnglianuniversityinthesixties,anddespitelonghairandbeard,wasneverahippie.Forfortyyearshewasanacademicmathematician/computerscientist,mainlyasProfessorofSoftwareEngineeringatBath,asubjectaboutwhichheknowslittle.HismaininterestshavebeenAstronomy,GravityWaves&Cosmology,andSymbolicComputing,buthehasalsodabbledwidely;LISP,tankwarfare,parallelism,Latinpoetry,Arabiclinguistics,compilers,andcompanymanagement,allwithsomelackofsuccess.OddlyhewontheAdamsPrizeforMathematicsinthe1970s.SinceretiringhehasbeenassociatedwiththeNationalUniversityofIreland,Maynooth.AntonKholomiov - MotherisWaiting(2016)

5:10I'mmusicianandprogrammer.ItakespecialinterestinfunctionalprogrammingandIndianclassicalmusic.I'vestartedtolearnmusicwhenIwas14.I'vestartedwithacousticguitar,laterI'velearnedpianoanddomra(studiedatmusicalschool).ThentherewassomepausewithmusicwhenIwenttouniversitytostudyappliedmath.AttheendoftheuniversitystudiesI'vediscoveredaCsound.Myfirstthoughtwas:whatanonsensewhocarestocreatethemusicwithprogramminglanguages!ButthenHaskellcameintoplayandstartedtheflameofcuriosityforcomputerscienceandItriedhardtomergetwopassionsaboutmusicandprogrammingtogether.

AndatthatpointI'verediscoveredtheCsoundagainandlearnedtoappreciateit'sflexibilityandpower.MymostprominentprojectsofarishaskellframeworkforcomputermusicthatusesCsound.It'scalledcsound-expression(https://github.com/spell-music/csound-expression).It'let'stheusertocreateCsoundmusicwithHaskellcode.I'vewrotesomemusicwithit(youcancheckitonhttps://soundcloud.com/anton-kho).RecentlyI'vestartedtolearntoplayBansuri.It'sanIndianwoodenflute.I'mtryingtouseCsoundonstagewithmybandcalledKailashproject(https://soundcloud.com/kailash-project).Weplayindianragasontopofmodernelectronicmusic.Indianmusichasmanyjewelstodiscoverlikemicrotonalmusicandcomplexrhythmicpatterns.AlsoItrytoapplymymusicalskillsatthebandcalledSweetPAD(https://soundcloud.com/sweet_pad).I'mtryingtomakethisworldabitbetterbystudyingancientyogapracticesandbeingavegetarian.WangLichuan - China(2016)

5:10Thenameoftheworkis“china”(Itmeanschinawarehere).IcomposedthisworkbysamplingandproceededwithCabbageeffects.FirstIsampledmanysoundsofchinaware,Iusechopstick,plasticstick,metalbarandviolinbowtostrikedifferentkindofchinaware,suchasbowl,cup,plate,vaseandevensomechinawarefragments.SecondIimportedthesamplesintoCubaseandeditthem,choosesomeusefulmaterialsoutofthem;Third,IimportedsomecabbagevsteffectsandinstrumentsintoCubase,andIproceededthesampleswithdifferentFXs,thenorganizeallthematerialsinto20morechannels,andcontroltheeffectwithmanyenvelopes.Inthiswork,Ihopetodescribetheprocedureofhowchinawareweremadeanddeliverallaroundtheworld.ThroughtheSilkRoad,chinawareandsilkspreadsChineseculturetotheworld,andtightenthecommunicationwithalltheothercultures.ThisworkisinA-B-A’form.PartA,intro.Claywasmadeintocertainshape,thenfiredforalongtime,finallybecameabeautifulchinaware.PartB,development.Thechinawarewaspackedandcarriedbycamels,walkingwestthroughsandyandwindySilkRoad,differentcultureswereconflictedduringthejourney,andfinallyallthechinawarearrivedwesternworldafteraseriesoftrials.PartA’,Represent.ThechinawarespreadtheChineseculturetothewesternworld,tookdifferentculturesbacktoChina,anditwillmaketheworldculturalprosperity.MynameisWangLichuan,agraduatestudentfromElectronicMusicDepartment,SichuanConservatoryofMusic,ChengduCity,China.IstudiedCsoundfor1yearduringmyundergraduateperiod.Lastmonth,mytutor,ProfessorYangtoldmethatCsound30congresswillbeheldatNovember,andheencouragedmetocomposeaworkbasedonCsound,soIcomposethisacousmaticworkwithCabbageeffects.It’smyhonortosendyoumywork,andhopetohaveyouradvicesaboutit.

ClemensvonReusner - DefinierteLastbedingung(2016)11:40

“DefinierteLastbedingung”(engl.definedloadcondition)isbaseduponthesoundsofelectromagneticfieldsastheyarisewhenusingelectricdevices.Numerousrecordingsofelectromagneticlandscapesweremadeatthe"InstituteforElectricalMachines,TractionandDrives"(IMAB)ofTechnicalUniversityofBraunschweig(Germany)withaspecialmicrophone.Thissoundmaterialhaslittleofwhata“musical”soundisintrinsically.Thereisnodepthandnomomentum.Intheirnoisinessthesesoundsarestatic,thoughmovedinside.Theyusuallyseembulky,harshandrepellent,evenhermeticasthewellknownelectricalhum.“Definedloadcondition”(atechnicaltermwhentestingelectricalmachines)isaboutwiththesesoundswhichareexploredintheirstructure,reshapedandmusicallydramatizedbythemeansoftheelectronicstudio.ThemainfrequencyofelectricalcurrentinEuropeis50hertzandhence50anditsmultiplesisalsothenumericalkeythiscompositionisbaseduponinavarietyofways.spatialization:ambisonic3rdorder-8channelOtherbroadcasts/concerts/performances,i.a.201612thInt.Symp.onComputerMusicMultidisclipinaryResearch2016,SaoPaulo,Brazil.2016SoundandMusicComputingConferenceSMC2016,Hamburg,Germany.2016InternationalComputerMusicConferenceICMC2016,Utrecht,Netherlands.ClemensvonReusner(b.1957)isacomposerandsoundartistbasedinGermany,whoisfocusedonacousmaticmusic.Hestudiedmusicologyandmusic-education,drumswithAbbeyRaderandPeterGiger.Sincetheendofthe1970shehasbeenengagedinelectroacousticmusic,radioplaysandsoundscapecompositions.Attheendofthe1980sdevelopmentofthemusicsoftwareKANDINSKYMUSICPAINTER.MemberoftheGermanComposersSociety(DKV)andoftheGermanSocietyForElectroacousticMusic(DEGEM).NumerousnationalandinternationalbroadcastsandperformancesofhiscompositionsinAmericas,Asia,Europe,i.a.:MusicaNova2009,Prague;SeoulInternationalComputerMusicFestival2010/2014,Seoul;InternationalCsoundConference2011,Hannover;InternationalComputerMusicConference2012/2013/2015;NoiseFloorFestival2010/2011/2015,Stafford(UK);ISCMWorldNewMusicDays2011,Zagreb;OpusMediumProject2011,Tokyo;AaronCoplandSchoolofMusic2011,NewYork;EMUFest2012/2013/2015,Rome,Italy;ElectroArtsFestival2013,ClujiRomania;NetworkMusicFestival2013,Birmingham;ZKMKarlsruhe,2014;LinuxAudioConference2014/2015;ICMC2015Denton,TexasUSA;AuricleSonicArts2015,NewZealand;ConciertoOctofonico,Montevideo,Uruguay2013/2015;FestivalKONTAKTE,AcademyoftheArts,Berlin,2015;NewYorkCityElectroacousticMusicFestival2014/2015/2016;InternationalCsoundConference2015,St.Petersburg,Russia;CMMR2016,SaoPaulo,Brasil;ICMC2016,Utrecht,Netherlands;2016;SMC2016,Hamburg,Germany.www.cvr-net.deinfo@cvr-net.de