Acoustic Instruments and Electronics

Hunjoo Jung (visuals and electronics) and Esteban Belinchòn (‘cello) – I Have the Right to De[Story] of Myself for Cello Solo and Live [Electronics +Video +Visuals+ Lightings] 

Nathaniel Haering (electronics) and kenneth cox(flute) – Cimmerian Isolation

Tom Davis (electronics) and Laura Reid (‘cello) – Gemmeleg  [for feral ‘cello]

Interval

Gintas K (electronics)- Vintage Digital

Stewart Collinson (image), Duncan Chapman (live electronics), Mike McInerney (Shakuhachi) – Rising Breath

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I Have the Right to De[Story] of Myself: The composer is interested in a psychologically interactive process of human process such as outer action, inner action, interaction and emotion in response to interactive effects of musical contents and non-musical contents in spatialization. This performance will be based on interactive performance systems conceptual interacting strategies in forming electroacoustic sound identities and multimedia performance assessment system. These complex interactive effects of music and non-musical materials needs underlying intrinsic motivational process in order to form the psychological representation of musical/non musical contents in noise context in an interactive real-time system for the control of sound and visual localization, which involved in the temporal organization of complex auditory sequences and multimedia process. This piece is an exploration of an audio +multimedia interactive system, which involves live electronics, pan/tilt lightings, white laser, pre-recorded video, live video, live visuals, gestures, and sound-file playback system with spatlicalization. This audio +multimedia system is designed that one main interface of one computer controls sound with other multimedia devices in an interactive way. The playback system is built from pro tools. They run on MAX/MSP with spatlization. Pre- recorded video images are built, and run on Jitter that interlocks data points from audio process. These pre recorded sound and video combine or independently interlock with live video/visuals, computer generated sound and a real time audio process. The pan-tilts lightings and a white laser connects to MAS/MSP through dmxusbpro and arduino, accompanied by actions stage behind the screen on the stage.

Hunjoo Jung is a sound & multimedia designer, improviser, researcher and composer of acoustic, electronic and electroacoustic concert music as well as intermedia installation art. In recent years, besides focusing on acoustic music, Jung has also been exploring multi-complex structural ways in which interactive visual, live video and video mapping, lighting & laser, sensor, actions and/or sculptural forms of objects can be used in a wide range of combination with acoustic, electroacoustic and electronic music in spatializatioin.  He is pursuing postgraduate degree from the University of Music and Performing Arts, Graz . He holds a Masters degree from University of California, San Diego and further degrees from New England Conservatory (BM). Now, he is staying in Vienna as an artistic researcher.

Principal Composition teacher:  Clemens Gadenstätter & Roger Reynolds

Principal Computer music teacher: Miller Puckette & Tom Erbe

http://www.estebanbelinchon.com

A brooding duet for the self, Cimmerian Isolation finds meaning in the interplay between the sound of the flute and the performer’s own primal uttering. These two often separate entities interact with and are greatly accentuated by the addition of live electronics and extensive real-time processing. “Cimmerian” in this case references it’s definition as an adjective meaning “very dark or gloomy” and attempts to elicit imagery of a wealthy recluse living in cimmerian isolation in a decaying Victorian mansion, left only to themselves and descending into eventual madness.

Nathaniel Haering is a masters student at Bowling Green State University studying with Dr. Elainie Lillios and Dr. Mikel Kuehn. He has collaborated with and had works performed by Grammy Award-winning Vietnamese performer Vân Ánh Võ, Ensemble Mise-En, Mivos Quartet, and Ensemble Dal Niente. His pieces have recently been featured at the Toronto International Electroacoustic Symposium in Toronto Canada, the SCI Student National Conference at Ball State University, SEAMUS 2016 Conference in Statesboro Georgia, Electronic Music Midwest in Kansas City,   Root Signals electronic music festival in Jacksonville Florida, SPLICE Institute in Kalamazoo Michigan, N_SEME at Louisiana State University, and NYCEMF in New York City.  This summer he will be working with Master Artist John Gibson at the Atlantic Center for the Arts Residency in Smyrna Beach Florida and be attending the Valencia International Performance Academy in Valencia Spain.

One of the most fresh and cutting-edge flutists of today, Kenneth J. Cox is taking the music scene by storm. Described as “breathtaking”, “incredibly unique” and “stunning”, Kenneth has performed in over twenty internationally acclaimed venues throughout the United States, Canada, France, Germany, Italy, the Netherlands, China and Japan, including the National Performing Arts Center in Beijing, Teatro Verdi in Florence, the Shanghai Grand Theatre, and for private concerts in The Vatican. An international award-winning flutist, Kenneth has won top prizes at the William C. Byrd International Young Artist competition, the National Music Teacher’s National Association Young Artist Competition, the East Central Division Music Teacher’s National Association Young Artist Competition, the Ohio Music Teacher’s National Association Young Artist Competition, the South Carolina Flute Society Young Artist Competition, the Florida Flute Association Young Artist Competition, the Atlanta Flute Club Young Artist Competition, and was Grand Prize winner of the 50th annual Bowling Green State University Concerto Competition, performing the monstrous Flute Concerto by Joan Tower, amongst many other competitions. Highly devoted to new music, Kenneth has commissioned and performed over twenty new works over the last six years, one being the world premiere performance of Ned McGowan’s Torrent at the 2012 National Flute Association Convention in Las Vegas, Nevada, co-sponsored by Miyazawa Flutes USA. Kenneth is currently pursuing a Doctor of Musical Arts degree in Contemporary Music Performance with a specialization in Flute at Bowling Green State University and serves as the Teaching Assistant to Dr. Conor Nelson. Kenneth is a recent graduate of the prestigious University of Cincinnati College-Conservatory of Music and is also an honor’s graduate from the University of South Carolina.

Gemmeleg: The Feral Cello is a performance system inspired by a post-phenomenological understanding of musical intentionality. The system is constructed from an actuated cello that is controlled solely through machine listening. A pickup under the bridge sends the cello sound to a laptop running Max for processing and a machine learning algorithm analyses the cello’s sounds to make decisions on the type of signal processing to apply. This processed audio is then played back through the cello through actuators placed upon its body. The cello and the processed sound through the instrument should be conceived as one augmented feral instrument.

Gemmeleg is a semi-structured improvisation developed particularly for the Feral Cello that explores five compositional ideas. The listening and feedback of the cello is used to switch between sections but also as a springboard for improvisational creativity within the piece. The ambiguity of the cello’s response is used to highlight the agency of the cello within the performance as the improviser struggles to cope with the shifting responses of the system.

Composition: Laura Reid

System Design: Tom Davis

Tom Davis is an improviser, instrument builder and sonic artist. He has performed at many festivals and conferences in Europe and USA, including, NIME 2012, NIME 2010, NIME 2007, Renew 2012, In-Time 2012, ICMC 2008, Fix 2007, SAN Expo & Sonorities 2007.  He has exhibited work at such venues as Tate Britain London, NIME 2012, Aspex Gallery Portsmouth and OVADA Oxford. He currently is a lecturer at the University of Bournemouth and holds a PhD in Sonic Arts from SARC, Queen’s University Belfast. www.tdavis.co.uk/

Laura Reid’s cello career has included playing cello with Kathryn Williams, the Light Surgeons, The Matinee Orchestra (Arable Records), Thea Gilmore, Cradle of Filth, Maximo Park (Warp Records), Fourhands, with performances on Later with Jools Holland, and Folk Brittania (BBC4). Reid’s compositions can be found in the British Music Collection. She is a New Voices artist for Sound and Music and has most  recently been commissioned by Kuljit Bhamra to write a new piece to be premiered in 2017. Works have been performed by Ensemble Eleven at Royal Northern College of Music, in Vox Music USA and by members of London Sinfonietta.

http://www.laurareid.co.uk

@laurareidmusic

Gintas Kraptavičius a.k.a. Gintas K, is a sound artist / composer living and  working in Lithuania. As an active part of Lithuanian experimental music  scene since 1994, Gintas now works in the field of digital experimental and  electroacoustic music. His compositions are based on granulated sounds, new  hard digital computer music, small melodies and memories. He has released  numerous records on labels such as Crónica, Baskaru, Con-v, m/OAR,  Bôłt, Creative Sources and others.  Gintas K also makes music  for films, theaters, sound installations, and has participated in various  international festivals as Transmediale.05, Transmediale.07, ISEA2015, ISSTA2016, IRCAM forum workshops2017..

In 2010 he was a winner of the II International Sound-Art Contest  “Broadcasting Art 2010” in Spain. Since 2011 he is a member of Lithuanian Composers Union.

Full Breath Cycle is a series of performance works for Japanese shakuhachi flute, live video and live electronic sound, each composed in response to a specific installation opportunity, but based on a consistent vocabulary of live shakuhachi performance, live sound manipulation (which combines processing of the shakuhachi signal in real time with precomposed electro-acoustic material) and live video output combined with precomposed drawn film.

The 1st iteration, Empty Breath, an improvised live multi-media performance at the Trafó Arts centre in Budapest, 2005: The 2nd, Turning Breath, performed at SAN Expo’09 in Leeds. The 3rd and 4th iterations, Rising Breath, were performed at the Plymouth ICCI360º Cinema Festival 2009 and Weymouth ICCI360º 2012, the latter as part of the Cultural Olympiad. Rising Breath was also performed in a 5th version at Seeing Sound 2016 (Bath Spa University)

The performance at Noisefloor 2017 will consist of

Visually

A 2 screen version of 360˚ 5 screen exploration of a costal landscape.

Screen 1: Hand-painted 16mm film, scanned, rotated and sequenced to create transverse movement,

Screen 2 Jitter Patch generating Lissajou figures where the Z axis is displaced by live shakuhachi audio signal.

Audio

Precomposed and live electro-acoustic music with live Shakuhachi processed and diffused. Most of the audio material is sourced from recordings of Shakuhachi attacks and breath sounds recorded in a variety of public and studio spaces.

Mike McInerney (www.mikemcinerney.com) is a shakuhachi player and electro-acoustic composer. Recent events include a performance of traditional Zen Hon Kyoku and new duos for guitar and shakuhachi a at the Roselidden wellbeing centre in Cornwall, a new piece for piano and electronics at the Plymouth Contemporary Music Festival 2015 and a touring performance for shakuhachi, drones and Carnatic singer with Duncan Chapman and Supriya Nagarajan. Mike is subject lead in music composition with Plymouth University.

Stewart Collinson is an artist making moving-image work for single-screen, gallery installation and live-performance. Collaboratively, he creates audio/visual work in national and international contexts.  He is primarily interested in the interaction of sound and image as a manifestation of collaborative process. He is senior lecturer in moving image on the BA (Hons) Photography and MA Fine Art programmes in the College of Arts at Lincoln University, UK.

Duncan Chapman is a freelance composer / sound artist based in Lincolnshire UK. Much of his work involves collaborations with groups to create performances, installations and recorded works. Current projects include work with the London Sinfonietta, HCMF, BCMG, Casa da Música (Porto) & the Iceland Symphony Orchestra. He is currently working with on the touring piece “White Cane” (co-composed with Isabel Jones on Sound And Music’s Composer-Curator project) and creating music for Manasamitra’s Lullabies projects in the UK and beyond.

Vintage digital: A live performance with a pc/software controlled by a MIDI keyboard and controller.

The patch is built in Plogue Bidule 0.97 software with  VST plugins assigned and controlled by MIDI keyboard and controller. All parameters are controlled live during the concert.

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