smc2019.uma.essmc2019.uma.es/docs/SMC2019_Music_Program_Notes.pdfDanza nº1 “La vida breve”...

Music Program Notes

SMC 2019Music Program Notes

16th Sound & Music Computing Conference

May 28 - 31, 2019Málaga, Spain

Music Program Notes. 16th Sound & Music Computing ConferenceISBN 978-84-09-11398-9

SMC 2019 is organized by

ATIC Research GroupUniversidad de Málaga

Website: http://smc2019.uma.es

Music Program Notes16th Sound & Music Computing ConferenceSMC 2019

Cover design by Alberto Peinado, Isabel Barbancho & Lorenzo J. TardónSMC 2019 logo by Alberto Peinado

Edited by:Lorenzo J. Tardón (ATIC Research Group. Universidad de Málaga)Isabel Barbancho (ATIC Research Group. Universidad de Málaga)Ana M. Barbancho (ATIC Research Group. Universidad de Málaga)Antonio Jurado-Navas (Universidad de Málaga)Alberto Peinado (Universidad de Málaga)

ISBN 978-84-09-11398-9

Permission to make digital or hard copies of all or part of this work for personalor classroom use is granted without fee provided that copies are not made ordistributed for profit or commercial advantage and that copies bear this noticeand the full citation on the first page.© 2019 SMC 2019


ORGANIZATION


SPONSORS

Other collaborators


Contents

Contents v

SMC 2019 Conference Committee 1

SMC 2019 Music Reviewers 3

Music Program 5Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5SMC. Music Session at Sala Unicaja de Conciertos María Cristina . 6M1. Music Session 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 7M2. Music Session 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Music Program Notes 9Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9SMC. Music Session at Sala María Cristina . . . . . . . . . . . . . . 10M1. Music Session 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 20M2. Music Session 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Acknowledgments 33

Author Index 34

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vi CONTENTS


SMC 2019Conference Committee

General ChairsIsabel Barbancho (Universidad de Málaga, Spain)Lorenzo J. Tardón (Universidad de Málaga, Spain)

Program ChairsStefania Serafin (Aalborg University Copenhagen, Denmark)Federico Avanzini (University of Milano, Italy)

Summer School ChairRomain Michon (Stanford University, USA)

Music ChairsAntonio Jurado-Navas (Universidad de Málaga, Spain)Juraj Kojs (Slovakia/USA)Spencer Topel (Dartmouth College, USA)

Demo ChairAna M. Barbancho (Universidad de Málaga, Spain)

Local CommitteeAlberto Peinado (Universidad de Málaga, Spain)Alejandro Villena (Universidad de Málaga, Spain)Irene Gómez (Universidad de Málaga, Spain)Jose María Gómez Belmonte (Universidad de Málaga, Spain)

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SMC 2019 Music Reviewers

Hyoju Ahn, SabinaApel, TedBiggs, BetseyBonacossa, FedericoBoyd, MichaelCipriani, AlessandroGlowicka, KatarinaGuillamat, JulienHatakeyama, AkikoHernandez, JoseHron, TerriHyoju Ahn, SabinaJen, Chen-HuiKaczmarek, KonradKemper, StevenKokoras, PanayiotisLem, NolanLewin-Richter, AndresLough, Alex

Matthews, WadeMatthusen, PaulaMiyama, ChikashiLippit, Takuro MizutaMorimoto, YotaNaphtali, DafnaNúñez, AdolfoOsborn, EdPark, Joo WonPayne, MaggiRataj, MichalRigler, JaneSmallwood, ScottSnyder, Je�Takaoka, AkiraTammen, HansTerzaroli, AnnaVidiksis, AdamWarren, Kristina

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Music Program

Wednesday,May29,18:30-21:00 Venue: SalaUnicajadeConciertosMaríaCristina

Part I

ConcertRui-Silva Duo

&Dancers from the Conservatorio Superior de Danza de Malaga

1. Isaac AlbénizMalagueña (Arranged for Cello and Piano by Joachim Stutschewsky)

2. Gaspar CassadóRequiebros

3. Manuel de FallaDanza nº1 “La vida breve”

4. Enrique GranadosDanza nº5 “Andaluza”

5. Enrique GranadosIntermezzo de “Goyescas” (Arranged for Cello and Piano by GasparCassadó)

6. Joaquín NinAndaluza from “Suite española”

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Part IISMC. Music Session at Sala Unicaja de Conciertos María Cristina

SMC.1 Chris RhodesDuet for Violin and Biofeedback

SMC.2 John GranzowAxes

SMC.3 Akira TakaokaPiano Sinfonia

SMC.4 Ricardo ClimentDuel of Strings: Lorenzo Triviño (non-virtual violin) vs. Virtual Violin

- © -

SMC.5 Amy BrandonSeven Malagueña Fragments for Augmented Guitar

SMC.6 Lorenzo Ballerini, Massimo D’Amato and Alberto GattiRelazioni Digitali (Digital Relations)

SMC.7 Nicoletta AndreuccettiNotturno Sole


MUSIC PROGRAM 7

Thursday, May 30, 14:30-16:30 Venue: Sala de Grados BETSI Telecomunicación

14:30-16:30 M1. Music Session 1

M1.1 Arne EigenfeldtTinySounds: for voice and musebot ensemble

M1.2 Je�rey WeeterPattern Portrait: Cork

M1.3 Man JieEnchanted AI

M1.4 Frank Pecquet, FotisMoschos, David Fierro and Justin PecquetPiamenca

M1.5 Simon BlackmoreCryptoguitar

M1.6 Scott BartonMachine Rhythm Study No. 2

- © -

M1.7 Te HaoNebula II

M1.8 Francesco BossiAcousmatic Scattering

M1.9 Sever TipeiQuilt


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Friday, May 31, 14:30-16:30 Venue: Sala de Grados BETSI Telecomunicación

14:30-16:30 M2. Music Session 2

M2.1 Gordan KrekovićAn Excerpt from Hologram Space

M2.2 Martyn Harry, James Dooley and Jamie SavanPalimpsest

M2.3 Gil Dori"Tenir el cap ple de..."

M2.4 Joshua TomlinsonA Short Story

- © -

M2.5 Francesco Roberto Dani and Riccardo NovellaMimesi

M2.6 Ji Won Yoon and Woon Seung YeoChildhood memories - distant but close


Music Program Notes

Wednesday, May 29, 18:30-21:00 Venue: Sala de Conciertos María Cristina

ConcertRui-Silva Duo

&Dancers from the Conservatorio Superior de Danza de Málaga

The Rui-Silva Duo performs music from Spanish Composers (Isaac Al-béniz, Manuel de Falla, Enrique Granados, Joaquín Nin) accompanied by theart of dancers from the Conservatorio Superior de Danza de Malaga.

The Rui-Silva Duo was formed in 2004by Sabrina Rui (cello) and Ana M. Silva(piano) as the result of the interest of bothcomponents for the study and dissemina-tion of the Chamber music repertoire com-posed for cello and piano. Their currentrepertoire includes musical pieces from theXVIII century to the present days includingSpanish repertoire, with a romantic touch.Since its foundation, this duo has given nu-merous concerts all across Andalusia.

Sabrina Rui and Ana M. Silva areprofessors of cello and piano, respec-tively, at the "Conservatorio Profesionalde Música Gonzalo Martín Tenllado" ofMálaga. They have in high consideration

the master classes that, periodically, they have received from Sergei Yerokhinand Mischa Milman.

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SMC. Music Session at Sala María Cristina

SMC.1 Chris RhodesDuet for Violin and Biofeedback

Duet for Violin and Biofeedback is a live interactive piece, forViolin and Tape, which uses new wearable sensor technologies(biosensors) to explore the relationship between performer andperformer biometric data. The piece incorporates the term ‘bio-feedback’ for this reason. The piece is in two parts. The firstmovement allows for the performer to play from a score, in uni-son with a Fixed Media recording, which uses the acousmaticmedium to relay sounds inspired from trends observed in stud-ied biometric data. The second movement, however, allows theperformer to interact with the piece: deciding its structure anddictating how the piece will sound. They do this by wearing abiosensor, to perform novel gestures (created via machine learn-ing before the performance), which a�ect playback and musicalparameters of the Tape. Ultimately, this piece aims to explorethe discourse between music inspired by biometric data and mu-sic composed from biometric data.

Duration: 9’ 20”Year of Composition: 2019

Chris Rhodes: Doctor of Philosophy, Music Composition, NOVARS Research

Centre, University of Manchester, UK.

SMC.2 John GranzowAxes

Luthiers use computer-controlled mills for the subtractive man-ufacture of guitar components. These machines have multiplemotors stepping at variable rates to propel cutting tools in threedimensional paths with corresponding pitch contours. Axes isa work that brings these live robotic sounds of modern guitar-making to the concert space. For this piece, stepper motors arefixed to the neck, body and soundboard of an unassembled gui-tar. The motors are driven in concert as the x, y and z axes ofa toolpath derived from a digital model of the instrument. Thepitched and noisy motors are filtered acoustically through theguitar’s components and are captured via transducers to becomethe source for subtractive synthesis. The actuation and vibration


MUSIC PROGRAM NOTES 11

also make the guitar components mildly kinetic. MaxMSP isused for the additional processing and to generate nebulous quo-tations from the emerging guitar’s future/past repertoire, pro-ducing a collage of fine motor skills, both machine and human.Axes is a multichannel work that can be adapted to the channelcount in the space.


John Granzow is Assistant Professor of Performing Arts Technology at the Uni-versity of Michigan. He teaches musical acoustics, sound synthesis, performancesystems and digital fabrication. He initiated the 3D Printing for Acoustics work-shop at the Centre for Computer Research in Music and Acoustics at Stanford.His instruments and installations leverage found objects, iterative CAD design,additive manufacturing and embedded sound synthesis.

SMC.3 Akira TakaokaPiano Sinfonia

Piano Sinfonia consists of three sections in simple ternary form.Lindenmeyer systems are extensively employed for the transfor-mations of pitch-class sets and the generation of melodic figuresin every section. The L-systems are implemented in my owncomputer program for algorithmic composition written in Java.The Java program generated the piano part and score files forRTcmix, which produced all the synthesized sounds.

I am always inclined to keep dynamics and tempo markings asfew as possible. I favor the flexibility of interpretation becauseof my experience with the greatest piano teacher of mine. In ev-ery Friday afternoon in his studio, to conclude his piano lessonfor me, he played one of J. S. Bach’s Concertos for Two Harpsi-chords together with me. It was such tremendous delight for meto explore inexhaustible possibilities of interpretation of thosegreat Concertos.


Akira Takaoka is a leading composer of contemporary classical music andmusic theorist in Japan. He has received many commissions and his compo-sitions have been performed at major festivals worldwide such as NYCEMF,ISCMWorld Music Days, ICMC, SEAMUS, and SMC in London, Copenhagen,Venice, Florence, New York, Tokyo, etc. His music combines computer technolo-gies, live performance, and visual arts, light art in particular. He also organizesinternational festivals of contemporary classical and electroacoustic music inTokyo and other major cities in Japan.


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He is currently a professor of music at J. F. Oberlin University, Japan, as well as alecturer at Tokyo University of the Arts, Temple University Japan Campus, andChuo University in Tokyo. He is also frequently invited to give lectures inter-nationally. His research on atonal pitch organization, algorithmic composition,and music cognition is internationally recognized at major conferences such asICMPC, SMPC, and ICMC.

He received a BA and an MA in philosophy from Keio University in Tokyo andan MA and a PhD in music from Columbia University, where he was a Fulbrightscholar.

Prof. Victor López Rodríguez (piano) was born in Málaga in 1977. He startedhis musical studies at the Conservatorio Superior de Música de Málaga, wherehe developed his piano career under the supervision of José Eugenio VicenteTéllez and Alfredo Gil Pérez, and his organ career with Adalberto MartínezSolaesa.

He perfected his technique with Isabella Tammik, Dimitri Baskirov, Ramón Coll,Neal Peres da Costa, etc.

Prof. López Rodríguez is awarded as the best young soloist of the year byGranada Juventudes Musicales in 1995. Moreover, he has been member of theContemporary Music Workshop of the University of Málaga, giving concerts indi�erent cities of Spain, like the Music Festivals of Granada, Bilbao, Madrid,Cádiz, Sevilla, etc. He has recorded various discs, the last one with the so-prano Alicia Molina entitled "Música para voz" (Music for Voice), AndalucianContemporary composers.

López Rodríguez is member of Passacaglia duet together with Mr. Juan ManuelSantos, giving concerts in Spain and Germany.

In addition, he has been invited as professor at the International Musical FestivalMartín Codax and at the Villa de Canena Festival. Nowadays he is a teacher atthe Conservatorio Superior de Música de Málaga.

SMC.4 Ricardo ClimentDuel of Strings: Lorenzo Triviño (non-virtual violin) vs. Virtual Violin

Bach versus Marchand, Steibelt vs. Beethoven, Kaila Mulladyvs. Chiwawa . . . from classical music to beat boxing, skillful mu-sicians have historically challenged each other to a contest butrarely played against machines. Terms and rules of these musicalbattles are always clearly set and may include a range of virtu-osic exercises, inventive improvisations, imitations and call-backdefiant musical gestures. In most cases performers seek humili-ating defeats or engaging in collaborative playing. This compo-sition makes use of game-engine technology to feature a musicalbattle between non-virtual and virtual strings. It explores mu-sical interactivity across “rounds”, as sonic miniatures focusedon restricted ideas which range from solo plucked strings and



scratch tones to Musikalisches Würfelspiel notation-like cards.Competitive rounds lead to an open-form playground where an-thropomorphic strings navigate and compose the virtual space.The piece’s concept is a GAPPP commission in response to anarticle by Olli Tapio Leino (City University of Hong Kong), aphilosophy of computer games and new media art scholar, onthe topic of “Performing and Audiencing Profound Boredom”.Climent has made extensive use of his virtual instrument cre-ations to battle nonvirtual performers such as, Sigma Project(Saxophone Quartet), Shuxin Meng (pipa player), Marij VonGorkom (bass clarinet), Mark Pilkington (VCS3), Rodrigo deLeón Garza (Modular Synth), Miquel Bernat (Timbila) and Dar-ragh Morgan (violin).

Credits: Alena Mesárošová | Manu Ferrer: 3D models, conceptdesign.


Ricardo Climent is Professor of Interactive Music Composition at Universityof Manchester, UK, where he serves as director of the NOVARS Research Cen-tre and as head of Composition. For the last few years his research has focusedon the potential of game-audio, physics and graphic engines for compositionalpurposes, using ‘the aural’ as the primary source for navigation and exploration.He previously held a lecturing position at SARC, (Sonic Arts Research Centre,Belfast), served as resident composer at the JOGV Orchestra, Spain; Conser-vatorio of Morelia in Mexico; Sonology - Kunitachi College of Music, Tokyo;LEA labs, at the Conservatorio of Valencia; the Cushendall Tower- In you wetrust; Northern Ireland, at CARA- Celebrating Arts in rural Areas, cross-borderIreland, N.K. Berlin and at the Push Festival, Sweden.

Ricardo co-started collaborative projects, such as: The Microbial Ensemble, (mi-crobial sonification project with Dr Quan Gan), The Carxofa Electric Band (achildren’s workshop with vegetables and Electronics with Dr IainMcCurdy), TheTornado-Project (a cross-atlantic trio project with Esther Lamneck (clarinet) andElizabeth McNutt (flute)), Drosophila (a dance-theatre tour of a blind fly withKLEM and Idoia Zabaleta), Ho- a sonic expedition to Vietnam, (a game-audiowork), S.LOW, (a cross-disciplinary project in Berlin involving artists from 34countries around the world), LocativeAudio Research Network (co-run by PGstudents at NOVARS), the Timbila Project ( with Miquel Bernat), CitizenUrge,(with DJ Slim Vic, Sweden), "[5]" -Valencia 1939, including geo-locative data,and "Putney" with Alena Mesarosova, Manuel Ferrer and Mark Pilkington andstarted the dutch-UK.network 58/58.

In terms of education, prior to completing a PhD in Electroacoustic Music Com-position and a Master of Arts in the same area (both at The Queen’s Univer-sity of Belfast), he obtained a five-year degree in Economics at University ofValencia, Spain and a 3-year degree by FUFAP, Alcala de Henares University(Madrid)/UPV.


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Lorenzo Triviño (violin) was born in Málaga, he graduated in Violin andChamber Music in the Conservatorio Superior de Música of the aforementionedcity. At the same time, he is attending, during two years, technical and inter-preting classes given by the violinist Manuel Guillén in Madrid. In May 2002,he completed an Artist Certificate Program at the University of Wisconsin –Madison School of Music, under the supervision of Prof. Vartan Manoogian.In July 2002 he obtained a position as music teacher in Junta de Andalucía.Being a Doctor by the University of Málaga, he is on secondment since 2003at the department of Cuerda-Arco at the Conservatorio Superior de Música deMálaga. Nowadays, he is combining his teaching activity with research activitiesand with an intense concert agenda, with concerts both on a national and aninternational level.

SMC.5 Amy BrandonSeven Malagueña Fragments for Augmented Guitar

In listening to and exploring traditional Malagueñas, I was struckby how often they seemed like collections of miniatures. I tooksmall elements of these pieces, a rhythm, or a bass melody, andworked them into my own sound-world, with electronics trig-gered from the digital realm via the guitarist’s hand movementsand the Metavision headset.


Amy Brandon, composer and guitarist Amy Brandon’s pieces have been de-scribed as ‘... mesmerizing’ (Musicworks Magazine), "Otherworldly and med-itative ... a clashing of bleakness with beauty ..." (Minor Seventh) and ‘.. anintricate dance of ancient and futuristic sounds’ (Miles Okazaki). Recent andupcoming 2018-19 events include premieres by Ekmeles (NYC - ICEBERG NewMusic), Chartreuse Trio (Music in Bloom, Indiana), Winnipeg Symphony Or-chestra, Pro Coro (Ban� Centre), trombonist Dale Sorensen, Continuum Con-temporary Music Ensemble (PIVOT) as well as performances at Music in NewTechnologies (CAN) and New Music Edmonton.

She has received Canadian and international composition awards and honourablementions from the ACWC, Central European String Quartet, Groundswell andRMN Classical (Europe). Her 2016 solo guitar and electronics album ’Scav-enger’ was nominated for regional awards including Music Nova Scotia andECMAs in 2017/18. She has performed in Canada, the USA, Australia, Brazil,New Zealand, the UK and at several festivals including the Ottawa InternationalJazz Festival, the Guitar Now Festival, Halifax Jazz Festival Spring Series, Some-thing Else!, Sound Symposium, the International Society for Improvised Music,BeAST FeAST and the Open Waters Experimental Music Festival. She has beena resident at the Ban� Centre, the Atlantic Centre for the Arts and a composerparticipant in Interplay with the Vancouver Chamber Choir.

In addition to performance and composition, she writes and presents academicwork concerning music cognition, virtual reality, improvisation and the guitar.Holding degrees in jazz guitar performance and composition, Amy is currentlycompleting an interdisciplinary PhD in music cognition at Dalhousie University



in Halifax, Nova Scotia. She has presented her work at conferences in Australia,USA, Switzerland, Hungary, the UK and at Berklee College of Music, Boston.

Emma Rush. Over the past decade, Emma Rush has established herself as oneof Canada’s preeminent classical guitarists. Known for her innovative program-ming and powerful stage presence, along with her warm sound and virtuosictechnique, an event with Emma Rush is one to remember.

“She captivated the audience with her charm, wit and technical prowess” Franken-post, Germany

Emma Rush’s career has commanded world recognition. Recent touring high-lights include a four-city tour in China, starting with the Altamira ShanghaiInternational Guitar Festival, appearances at major guitar festivals includingFestival de Guitarras Lagos de Moreno (Mexico), the Nyköping Gitaarsemi-narium (Sweden), the Montreal International Guitar Festival, and a prestigiousconcert at the Internationales Gitarren Symposion, Iserlohn (Germany). Shetours throughout North America and in 2016-17 toured extensively in EasternCanada as a Debut Atlantic artist. She performs regularly as Azuline Duo withflutist Sara Traficante. The duo toured Alberta, BC, and Yukon Territory in2018/19. Rush was featured in the McMichael Gallery’s Group of Seven GuitarProject documentary alongside such notable guitarists as Bruce Cockburn, JesseCook, and Don Ross. Rush completed two residencies in 2018 at the SointulaArt Shed in British Columbia and in Lübeck, Germany through the women’sorganization GEDOK.

Rush is an award-winning artist and in addition to being a prizewinner at theColumbus International Guitar Competition and the Great Lakes Guitar Com-petition, she has received three City of Hamilton Arts Awards, and has hadher work supported by the Canada Council for the Arts, Ontario Arts Council,Hamilton City Enrichment Fund, and FACTOR.

Composers are eager for Emma Rush to perform their music and she has hadworks dedicated to her by the Canadian composersWilliam Beauvais, Amy Bran-don, and Timothy Phelan and the Mexican composer Winy Kellner. Rush willbe premiering a new work by Amy Brandon at the Music and Sound ComputingConference in Malaga, Spain in May 2019.

Emma Rush can be heard on the albums Canadiana (2017), Folklórica (2014),and Romanza (2016- Azuline Duo). Her latest project, an album of rare 19thcentury guitar music written by female composers will be released in the fall of2019.

“Rush’s technique is flawless throughout. . . ” The Whole Note

Rush completed her post-graduate studies at the Hochshule für Musik in Det-mold, Germany, following an honours Bachelor of Music degree from DalhousieUniversity in Halifax, NS. She holds faculty appointments at Mohawk Collegeand Redeemer University College in Hamilton. She has been a guest lecturerat colleges and universities throughout North America and was an Artist-in-Residence at the Fountain School of Performing Arts at Dalhousie University inthe fall of 2016.

Rush is the Founder and Artistic Director of the Guitar Hamilton concert seriesthat includes the Hamilton International Guitar Festival. She is the co-directorof the Lonestar Guitar Festival in Texas.


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SMC.6 Lorenzo Ballerini, Massimo D’Amato and Alberto GattiRelazioni Digitali (Digital Relations)

In electronic music, the use of a laptop changes the intuitive vi-sion of performance. It does so to the extent that the immediatesensation of the proximity of human intervention is less useful tounderstand the musical experience. We argue that such a tech-nological impasse is worth exploring by specifically investigatingthe various compositional and performance methods related tonew technologies. On these premesis, we aim to reflect on the re-lationship between music and society, gesture and sound, visionand listening.

Accordingly, this composition is based on human presence andlight that are used to conceal or reveal the various aspects ofperformance in a timely manner and on the dichotomy betweenaction and autonomous control of the laptop, continually over-turning the man/machine relationship.

LEDs, we show, also play a fundamental role for the enjoymentof the musical event. This performance shows that the abilityto see musical action allows for a greater sensitivity to the roleplayed by the eye in the perception of the musical experience.We search then a visceral relationship between electricity, visionand sound.


Lorenzo Ballerini, composer, performer and sound designer. Graduated atLuigi Cherubini Conservatory of Florence in Music and New Technologies. Hehas always cultivated a passion for music, technology and design.

In 2016 and 2017 he brings his compositions "The origin of species" and "Perse-verance" for tape and instrumental ensemble in New York at the Loewe Theater.He has participated in Florentine festivals such as Il corpo / La luce / Il suono,Me� and Di�razioni Multimedia Festival in which he also held the role of tech-nical director.

In May 2018 he collaborated as sound designer for Juliae - for Choir and Tablets,composed by Girolamo Deraco and premiered at the International Festival ofSacred Music Sanctae Julie, 4th Edition, Sala Canaviglia of the Old Fortress ofLivorno. The collaboration with Deraco continues for Dr. Streben (world pre-miere), Robot chamber opera for soprano, tenor, baritone, robot and ensembleat Gran Teatro Giacomo Puccini.

In the same year he participated at SMC2018 as electronics executor for Nico-letta Andreuccetti’s piece - Resounding Resonances. He made his debut at theTempo Reale Festival, Klang Experimental Music # 9, as executor for Ideale byGiorgio Sancristoforo. The sound designer’s work also arrives outside Italy for



the Gala concert on the 20th anniversary of the Kazakh National University ofArts, Astana, Kazakhstan Central Concert Hall.

In February 2019 he won the call for artists of Bright Festival with his perfor-mance "Digital Relations" born from the research on gesture conducted in thevarious artistic research laboratories in music promoted by the Orpheus Insti-tute of Ghent, the Luigi Cherubini Conservatory in Florence and the GiuseppeVerdi Conservatory in Milan and supported in particular by professors TizianoManca, Francesco Torrigiani and Gabriele Manca.

He has collaborated with composers and performers including Girolamo Der-aco, Alvise Vidolin, Giorgio Sancristoforo, Michele Marasco, Nicola Sani, RobertoFabbriciani, Alberto Maria Gatti, Nicoletta Andreuccetti.

Massimo D’Amato approached the world of music in his childhood, studyingpiano and drums until middle school. At an early age he began his interest inthe generation and production of electronic music. He has forked closely withfreelance artist and independent labels around the world that specialize in theproduction of electronic music. His preference for live performance led him tostudy the use of the sophisticated manufacturing techniques and live interaction,which allow the management and control of refined acoustic sound in real time.

Graduated in sound design at the conservatory G.B. Martini Bologna, Massimohas a peculiar style that is based on in-depth and meticulous research, whichallows developed by software with an aesthetic and refined linguistic choice.His capabilities in developing works along several dimensions have allowed himto broaden his thematic and stylistic choices.

Alberto Maria Gatti was born in La Spezia (Italy) in 1992, is a composerand a computer music designer. He graduated at the Conservatory of Florencein “Electronic Music” and “Music and New Technologies” with Marco Ligabueand Simone Conforti. He attended also many composition masterclasses withVittorio Montalti and Girolamo Deraco, music for dance with Roberto Castello(Aldes) and Sound Direction with Alvise Vidolin.

His works have been performed in many festivals and theaters, among others,Museo del 900 (Florence, Italy), Palazzo Vecchio (Florence), Collisioni Festival(Turin), Di�razioni Festival (Florence), Chuafuonna (Tunisi), Tempo Reale (Flo-rence), Sermoneta (Latina), Thin Edge New Music Collective (Varese), ClusterAssociation for Contemporary Music (Lucca), SIMC (Bari).

He worked for Rete Regionale dei Flauti della Toscana winning the AbbiatiSchool Prize in 2015, Abbazia di Spineto, Aldes, Compagnia Simona Bucci,Gruppo MUD, Conservatory of Florence, K-Array Industries and many others.

Currently he’s working on his artistic research project and as freelance composer.

SMC.7 Nicoletta AndreuccettiNotturno Sole

The fragment of the On the Nature of Things by the Romanpoet and philosopher Lucretius, a text that will gradually emergealong the course of the piece, through the sussurrato of the flutistin the instrument, builds the image (andmetaphor) around whichthe form of the piece develops. On stage two narrative virtual


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spaces that contrast dialectically, organically and interactivelythrough machine learning techniques that manage the multi-channel spatialization of acoustic and electronic sounds.

The first is an ‘inner’ landscape, built by the ML that giveslife to a mobile, living, organically shaped reverberation by thegestural sounds of the performer. The second is an ‘external’landscape, a digital flow almost deafening, ‘seen’ through theinwardness: the gestures of the acoustic instrument once againdetected by the ML ’recall’ from time to time the electronic ma-terials, moving them in space, as an alter ego antithetical of theperformer.


Nicoletta Andreuccetti is an Italian composer of acoustic and electronic con-temporary works. She studied piano at the Music Conservatory of Cagliari,electronic music at the Music Conservatory of Florence and composition withM. Bonifacio and A. Solbiati at the Civica Scuola di Musica Claudio Abbadoof Milan. She specialized with K. Bogino for the piano and Ivan Fedele for thecomposition at the Accademia Musicale Pescarese, attending also master classeswith H. Dufourt B. Mantovani, S. Sciarrino.

She has enriched her musical training developing a variety of interests rangingfrom musicology to aesthetic and psychology of music. She is currently a PhDcandidate in Musicology at the University of Toulouse (France). Her researchwork focuses on the application of physical modelling synthesis to the composi-tional practices.

In 2009, she won the 1st prize at the International Electroacoustic Music Compe-tition Musica Nova in Prague with S’i fosse foco II, for female voice and electron-ics, which was recorded by Barbara Zanichelli for Nova Music Edition. In March2012, she won the 1st prize at the Utrecht Dutch Harp Composition Contestwith Mouvements selected, also, for the International Gaudeamus Music Week2012 and performed by Gwyneth Wentink. The 56th Festival of ContemporaryMusic of the Biennale di Venezia (2012) has commissioned to her Figurazionidell’invisibile for Architecture Sonora’s sound interactive installation. In May2013, she was composer in residence in the Steinhardt Department of Music andPerforming Arts at New York University for the realization of Dall’oscuro II, forbass clarinet and live electronics, performed at the Frederick Loewe Theatre inNew York. In the same year, in collaboration with the artist Nicholas Naughton,has participated with her work Shadows at the multimedia installation Disasterof War in The New Horizons Music Festival at the University Art Gallery of Tru-man State University, USA (Missouri). For the project Alla Battaglia! (2014), incollaboration with Umbra Lucis Ensemble and the RSI (Radio-Television ItalianSwitzerland broadcast), she wrote Del Visibile dell’Invisibile inspired by the lostLeonardo Da Vinci’s fresco on the battle of Anghiari, for six voices and fifteenrenaissance instruments.

Her music has been performed in the most significant international festivals:Achantes Festival 2009 (Metz, Paris), ISCM World New Music Days Festival



2011 (Music Biennale Zagreb), Biennale di Venezia 2012, Festival Music andPerforming Arts (New York University 2013), Orchestra Sinfonica di Lecce 2013,Festival Spaziomusica of Cagliari 2013, Festival Suoni Riflessi 2013 (Florence),Suoni Inauditi 2014 (Livorno), Multimedia Festival Di�rAzioni 2014 (Florence),Festival Alla battaglia! 2014 in collaboration with RSI (Radio-televisione SvizzeraItaliana), Expo 2015 (Milan), I Pomeriggi Musicali 2016 (Milan), New York CityElectroacoustic Music Festival 2016, 12th International Symposium on Com-puter Music (CMMR) São Paulo, Univers Sonores Parallèles 2016, Teatro LaFenice 2016 (Venice), GAMO. 2016 (Florence), ICMC World New Music Days2016 (Utrecht), 19th LONDON NEW WIND FESTIVAL 2016, EMUFest – In-ternational Electroacoustic Music Festival 2016 (Rome), The Boston New Mu-sic Initiative 2016, Festival Ecos Urbanos 2016, NWEAMO FESTIVAL 2016 inTokyo, Bateau-Lavoir Electroacoustics 2017 (Rimini), ISCM World New MusicDays 2017 (Vancouver), and many others.

Lorenzo Ballerini (live electronics). See SMC.6.


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Thursday, May 30, 14:30-16:30 Venue: Sala de Grados BETSI Telecomunicación

M1. Music Session 1

M1.1 Arne EigenfeldtTinySounds: for voice and musebot ensemble

Intelligent agents – musebots – respond to live input: quiet soundsmade by the voice. Musebots are autonomous musical agents thatinteract with other musebots, as well as human performers, tocreate and perform music. Musebots communicate through mes-sages; in this work, one musebot analyses the live performance,and messages its data to the other members of the ensemble, whoindividually decide how to react to the information. As such, theaudio musebots don’t “listen” to the live input, and instead reactto the data.

Duration: 10’ 00”

Arne Eigenfeldt is a composer of live electroacoustic music, and a researcherinto intelligent generative music systems. His music has been performed around theworld, and his collaborations range from Persian Tar masters to free improvisors tocontemporary dance companies to musical robots. He has presented his researchat major conferences and festivals, and published over 50 peer-reviewed paperson his research and collaborations. He is a professor of music and technology atSimon Fraser University.

M1.2 Je�rey WeeterPattern Portrait: Cork

Pattern Portrait: Cork is composed for an ensemble of four Pos-sibility Box performers. The Possibility Box is a newly designedrealtime instrument in a wooden box featuring potentiometers,switches and distance sensors with a Raspberry Pi at its core.There is one performer per box. Each box plugs into its ownspeaker onstage. The output can also be mixed to a stereo feedfor the PA system.

Pattern Portrait: Cork is an audiovisual composition continuouslydeveloping its form through the musical and visual exploration ofthe rhythmic cycles and patterns generated by the tra�c data of aCork City motorway and the water levels of the River Lee. Eachautomobile on the highway at a given time is represented by both anote and an image. The river levels determine the drone volume.



This data is sent to each Possibility Box where the performersimprovise with synthesis, timbre and real-time video.


Je�rey Weeter composes music, designs real-time multimedia instruments, playsthe drums and performs musically with technology. He is director of the CorkAudio Visual Ensemble (CAVE) which performed “The Box” at the InternationalComputer Music/Sound and Music Computing Conference in Athens, Greece. Hiswork was also recently performed at Kunsthaus in Zurich, the !f Istanbul AFMInternational Independent Film Festival, and the Cork Film Festival. During 2011and again in 2012, collaborations with electronic musician Kate Simko toured theworld, touching every continent.

As an educator, Dr Weeter created the first music composition MOOC (MassiveOpen Online Course) of it’s kind in collaboration with Kadenze, leaders in learn-ing creative technologies online. The course "Loop: Repetition and Variation inMusic", has been taken by thousands across the globe.

He completed his Doctorate in Music Composition from Northwestern University,served five years as an audio engineer for the Emmy winning “Oprah WinfreyShow”, Harpo Studios, Chicago and is currently a Lecturer in Music Compositionat University College Cork, Ireland.

M1.3 Man JieEnchanted AI

This piece was created during my recent study on algorithmic com-position and artificial intelligence technologies.

The basic sound material is made with the help of software such asOpen Music, Max / Msp, Omax, Audio Sculpt, in which, recordedsound (such as Inner Mongolian folk music, the sound of the ty-phoon in Tokyo) have been transformed into various interestingsounds.

With the help of AI technologies, I was able to explore the struc-ture, harmony, rhythm and the musical texture in a new way.


Man Jie, born in Inner Mongol, China. She graduated from Inner Mongol Uni-versity Art Institute department of Music, specialty Piano and received the masterdegree from the Graduate School of the same. She studied in Japan since 2011 andgot her second master’s degree in Composition from Tokyo University of Arts. Sheis currently pursuing a Ph.D. degree in composition for electro-acoustic & instru-mental music. Her work has been collected by Tokyo University of Arts Museum,and she was invited from Contemporary Music Festival Present of Orchestral Asia2015, her works were premiered in the 2016 International Workshop on ComputerMusic and Audio Technology (FORUM IRCAM-WOCMAT Taiwan 2016), SeoulInternational Computer Music Festival 2017, SMC2018, ICMC2018. Her music isregularly performed mainly in China and Japan.


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M1.4 Frank Pecquet, FotisMoschos, David Fierro and Justin PecquetPiamenca

The TransTeamProject(T3P) works on developing interactive glovestechnics - and other materials, with sound and/or visual samples.Piamenca continues the work developed in Transpiano with a spe-cific emphasis on visual content such as transforming sound intolights, in this case together with a strong vernacular inspiration(Flamenco). T3P creative project is involved with art music to-gether with techno-perspectives. While the audio system uses Blue-tooth gloves system connected to an Arduino card, the light systemuses one led strip of five meters and four led light spots. The wholesystem is controlled by another Arduino card which receives theinformation coming from the software by the USB port. As the ledstrip shape can be modified, we use it to interact with the spaceto generate shadows and light movements. The four directionalled lights are placed behind the musician in order to play with thespace perceived by the audience. A score will be produced.


Frank Pecquet was born and resides in Paris, France, French nationality. Com-poser, musicologist, author of works in acoustic and electronic music and articleson contemporary music. PhD in musicology/composition - Paris and San DiegoUniversities (UCSD). Teacher/Researcher in computer arts at the University ofParis1, Pantheon-Sorbonne. Researcher with the ACTE institute (Art CreationTheory and Esthetics) and Ircam.

Last major work Mindscape (https://soundcloud.com/fpecquet/mindscape), for or-chestra and electronics, Commissioned by Radio France. Currently working in thefield of sound design, acoustical ecology and interactive music composition.

Fotis Moschos was born in Athens, Greece. Graduated from the Departmentof Music Studies/University of Athens (2012) with a piano performance degree(2011, "Entechnon Conservatory"). Master with “excellent” honors in "Theory,Practice and Evaluation of Educational Project/ Direction of Digital Technologiesin Education". Developed the innovative software "Fonaskein" that improves tonalaccuracy singing through visual feedback. Works currently as a sound engineerand music software developer in Max/MSP.

David Fierro. Born in Columbia, resides in Paris, France. Electronic engineer,researcher and director in computer music. PhD student in music and neuro acous-tics. Software and hardware developer, (CNRS, Ircam), Research and teachinginstitutions (Paris1, Paris5, Paris8 Universities).

Actual research on "Synchronization of brain waves: a method of composition"From an analysis of neuro acoustic e�ects and the close relationship between soundspatialization and synchronization of brain waves. How to create a compositionmethod for brain wave training based on these observations? (Paris 8 - EDESTA -CICM).



Justin Pecquet. Born in Paris, France, resides in Berlin, Germany, with French-American nationality. Piano performer, music composer, written and improvisedmusic. Actually, living in Berlin and studying music at the University of the Arts,Berlin (UDK, Universität Der Kunste), JIB ( Jazz Institute of Berlin). Member ofthe Urban Base Community in Berlin. Currently self-producing music, previouspost, “The Korean Kat” (https://www.youtube.com/watch?v=o7aPZYU83i8).

M1.5 Simon BlackmoreCryptoguitar

In this performance I will play an improvised piece of guitar musicwhere the movements of my right hand execute rhythmic binarypatterns to produce text. The work is the result of research intomusical cryptograms, codes and secret messages encoded into in-strumental music and an exploration of real time rhythmic com-puter interaction. The work also draws inspiration from my timestudying flamenco guitar with artists such as Jose Manuel Leonand Gerardo Nuñez.

Custom technology has been developed to produce this work. Alight based guitar pickup captures the movement of each guitarstring. Another circuit based on a serial interface interprets eachnote played as a 1 and silence as 0. The resulting binary patternsare then translated into ASCII text which is revealed live to theaudience. The result is a playful exploration of the space betweenmusic, meaning, code and live interaction.


Simon Blackmore makes performative sculptures and installations using soundand custom-made technology. Since gaining a First Class Honours degree in Sculp-ture at The University of Wales Institute, Cardi� in 1999, and an MA in CreativeTechnology at Salford University in 2001, he has received numerous commissionsand exhibited in galleries Internationally.

In 2006 he was nominated for the Becks Futures Prize, he was artist in residence inUniversidad de Los Andes, Bogota, Colombia in 2007, and in 2008 he was awardedthe Berwick Gymnasium Fellowship. In September 2013 his work was presented ina solo show at Aldrich Contemporary Art Museum, Ridgefield, USA.

He is also a founding member of the art group Owl Project. Known for theirdistinctive range of wooden musical and sculptural instruments. Owl Project wonthe Urbis Best of Manchester award in 2009.

In 2012 their project Flow was launched in Newcastle and attracted over 50,000visitors. Owl project have performed and exhibited internationally, including per-formances at Les Urbaines Festival (Lausanne, Switzerland), SARC, (Belfast, Ire-land) 2009, and a solo show at Lydgalleriet, (Bergen, Norway) 2008. Their recentwork was presented in a solo show at Bildmuseet, Umeå, Sweden in August 2013.


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M1.6 Scott BartonMachine Rhythm Study No. 2

Machine rhythms are temporal organizations that are realized bythe precise timing capabilities of computers and electromechani-cal musical instruments. They deviate from configurations whoseintervals consist of low-integer ratios (the kind found in traditionalnotation and commercial DAWs) in ways that escape the domainof expressive timing. This work explores the temporal dimensionwithin which these machine rhythms are both distinguished fromand blended with their low-integer-ratio counterparts. The resultis a variety of di�erent kinds of grooves: some are straight, someare lopsided. An experimental aspect of the work asks to what ex-tent symmetry and displacement contribute to our sense of groove.The software tool Cycletron, an interface for generating rhythmsbased on circular representation of time, was used to create thepatterns. The improvisatory nature of the work is meant to illu-minate how a novel interface can influence compositional choicesand inspire creativity.


Scott Barton composes, performs, and produces (electro)(acoustic) music; con-ducts psychological research; and develops musical robots. His interests includerhythmic complexity in beat-based contexts, stylistic heterogeneity, perceptual or-ganization, instrument design, machine expression, human-robot interaction, im-provisation, and audio production. He founded and directs the Music, Perceptionand Robotics lab atWPI and co-founded Expressive Machines Musical Instruments(EMMI), a collective that designs and builds robotic musical instruments. As a re-searcher, programmer, and author, his work in rhythm perception and productionhas been published in journals such as Music Perception and Acta Psychologica .He is active in the world of audio production as a recordist, mixer and producer.His most recent album Stylistic Alchemies (Ravello Records) features electroacous-tic works that illuminate the creative potential of the studio in the synthesis andjuxtaposition of musical genres. His compositions have been performed through-out the world including at SMC; ICMC; SEAMUS; CMMR and NIME. He is anAssociate Professor of Music at Worcester Polytechnic Institute. scottbarton.info

M1.7 Te HaoNebula II

In astronomy, ‘nebula’ is a cloud of gas or dust in outer space,visible in the night sky as an indistinct bright patch or a dark sil-houette against other luminous matter. I was particularly inspired



by the dark silhouette that are manifest clearly in di�erent imagesphotographed. As such, I originally composed this work.


Te Hao, composer, born in Inner Mongolia, China. He is doctoral student inMusashino Academia Musicae, Tokyo, Japan, majoring in composition for electro-acoustic & instrumental music. He was invited from Contemporary Music FestivalPresent of Orchestral Asia 2016, his works were premiered in the 2017 Interna-tional Workshop on Computer Music and Audio Technology (FORUM IRCAM-WOCMAT Taiwan 2017), ICMC2018. His music is regularly performed mainly inChina and Japan.

M1.8 Francesco BossiAcousmatic Scattering

Since the increasing attention paid by electroacoustic composersto audiovisuals developed a particular form of expression, in whichframes and music seem to be united in a common language, thiswork investigates the subtle connection between pictures and soundas a source of inspiration. The basic idea is represented by theartistic evolution of the oscilloscope. The idea is that there isalmost no sound that is not related to its visualization. If theperception of sounds depends on our visualization of it, then avisualization can hardly exist without external sounds.

The algorithmic animation has been realized with the aid of theVsynth package of Max.

The acousmatic tool (which we could define as a "creative" readerof audio files or wavetables) was designed and created as a MaxMSP standalone. Furthermore, the e�ort was also to join electroa-coustic music with something from jazz, trying to unite two worldsnot so close to each other.


Francesco Bossi is a composer whose work includes acoustic and electroacousticmusic, video and multimedia installations. He holds degrees from University ofBologna and Conservatorio di Milano where he graduated with highest honoursin Electronic Music. His research is currently focused on the production of algo-rithmic computer based custom synthesizers. His e�ort is to share contemporarymusic beyond academic audiences. His works have been performed by Orches-tras, Ensembles and soloist, and are often selected by international festivals andconcerts.

He has been awarded first price in "The Sounds of Music" competition, (VillaArconati Milan, 2012). Recently he has been invited to Naples (2012), Florence(2014 and 2016), Padua, Venice (2014), New York City (2014, 2015, 2016, 2017 and


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2018), Denton (Usa) - ICMC (2015), Singapore (2015), Valencia (2015), StatesboroUSA (2016), Bourges (2016), Sao Paulo (2016), Matera (2016), St. Cloud, Usa(2017), Livorno (2017), Como (2017), Seul (2017), Cyprus (2018), Daegu (ICMC2018), Firenze (Di�razioni Multimedia Festival) March 2019, Saint-Etienne (Art &Science Days 2019) May 2019, New York City (NYCEMF - ICMC 2019) June 2019.

M1.9 Sever TipeiQuilt

Quilt, for fixed media, is a computer-assisted composition thatexplores - in order - three sound synthesis methods: granular, ad-ditive, and FM - all realized with DISSCO, a Digital Instrumentfor Composition and Sound Synthesis developed at the ComputerMusic Project of the University of Illinois and Argonne NationalLaboratory. Similar to a Haiku, the first line contains five ele-ments, the second seven, and the third again five, creating a quiltof seventeen juxtaposed textures.


Sever Tipei was born in Bucharest, Romania, immigrated to the United States in1972 and became a U.S. citizen in 1978. He holds degrees in composition from theUniversity of Michigan and in piano performance from the Bucharest Conservatory(now National University of Music at Bucharest). Sever Tipei has been teachingsince 1978 at the University of Illinois School of Music where he manages theComputer Music Project . of the UIUC Experimental Music Studios . MP1, hisprogram for computer-assisted composition in use between 1973 and 1998, wasthe first such program to be implemented on a supercomputer ( NCSA’s CRAYX-MP), in 1986. Sever Tipei also had a Faculty Appointment (visiting scientist) atthe Argonne National Laboratory between 1994 and 2003. In collaboration withHans Kaper, Senior Mathematician (now retired), at Argonne Tipei worked ondeveloping an Environment for Music Composition (EMC), that included softwarefor composition, sound synthesis, automatic music notation, and visualization ofmusic in a virtual environment. Tipei and Kaper have also pursued the sonificationof complex scientific data. A more recent project, DISSCO, a Digital Instrumentfor Sound Synthesis and Composition, available on sourceFORGE.net representsa unified approach to composition and sound synthesis.

Tipei regards the computer as a collaborator whose skills and abilities comple-ment those of the human artist. He sees the composition of music both as anexperimental and a speculative endeavor that delivers a particular world view.



Friday, May 31, 14:30-16:30 Venue: Sala de Grados BETSI Telecomunicación

M2. Music Session 2

M2.1 Gordan KrekovićAn Excerpt from Hologram Space

Music for Hologram Space (a contemporary choreography) re-lies on an exploratory approach to live coding characterized byradical reductions in the improvisation process and used soundsources. Instead of writing code from scratch, the improvisationalaspects are limited to executing and modifying previously writ-ten parts of code. The performative practice brings incrementalchanges to the complex code that evolves and enables new inter-ventions during live performances. The focus shifts from build-ing basic musical structures to manipulating the generative pro-cess with more inherited details and complexity. The music isentirely created using samples of an old electromechanical pianoconfronting the algorithmicity of live coding with the imperfec-tion of physical sound sources. The generative process definedby the program code significantly reshapes intrinsically tonal andtimbrally consistent material in order to achieve a diversity of tex-tures, minimalistic melodies, and isorhythmic patterns that createunique aesthetics.


Gordan Kreković was born in Zagreb, Croatia in 1986. He received B.S. degreein Computer Engineering in 2008, M.S. degree in Information and Communica-tion Technology in 2010, and PhD degree in Computing in 2016 at the Faculty ofElectrical Engineering and Computing, University of Zagreb. He graduated withgreat honours and received the Rector’s Award, two Dean’s Awards, and multi-ple scholarships of the City of Zagreb. Since 2010, he has worked in several ITcompanies on R&D and management positions.

Gordan is an active researcher and practitioner in the field of computer music tech-nology. He composed music for contemporary choreographies Xerophytic Gardenand Hologram Space, experimental film Cities I Haven’t Been To, interactive per-formance Mnemosyne, audiovisual work Click Click Sale, and several more pub-licly performed musical pieces.


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M2.2 Martyn Harry, James Dooley and Jamie SavanPalimpsest

‘Palimpsest’was specially written for the Polyphonic Cornett project,a project exploring the combination of live electronics and thecornett, an early wind instrumnet. The work is an exploration ofbringing an old instrument into a contemporary context. Usinglive electronics to sustain tones and echo transposed motifs, thee�ect is one of a blurred musical image where melodic fragmentsemerge and come into focus throughout the course of the perfor-mance.


Martyn Harry studied Composition with Alexander Goehr as part of his BAat Cambridge University, and Music Theatre Composition with Mauricio Kagelin Cologne on a DAAD scholarship. He has an Associate Diploma in Perfor-mance and Communications Studies from the Guildhall School of Music, and aPhD in Composition from City University where he studied with Simon Emmerson,Michael Finnissy, Douglas Young and Robert Saxton.

From 2000 to 2003 Martyn was the Northern Arts Composer Fellow, based at theUniversity of Durham, in which capacity he produced numerous compositions forthe Northern region (covering Newcastle, County Durham, Cumbria, Northum-berland, Teeside and the North Pennines), involving professional arts organisa-tions, universities and members of the community. As part of his work he createdDurham’s innovative Opera and Music Theatre course, where Durham studentsdevised a new production every year for performance in primary and secondaryschools, in conjunction with CTC, now Theatre Hullabaloo.

Martyn becameHead of Compositional Studies at the music department of DurhamUniversity in the academic year 2003-2004, and had a significant role in the depart-ment’s successful bid to become a Centre of Excellence for Teaching and Learningin Music. Along with Agustin Fernandez, Martyn directed the I3 project in closeconjunction with Simon Clugston of Northern Sinfonia. He created a numberof innovative music theatre projects with the director Lore Lixenberg, includingproductions of Berio’s A-Ronne, Wishart’s Anticredos and Kagel’s theatrical tour-de-force Staatstheater, which won approbation from the composer. He will also beremembered for his initiatives to change the learning environment for composers,such as the new first-year Contemporary Music course, which combined close studyof avant-garde compositional techniques along with opportunities for composingfor film (e.g., the film scores created by postgraduate film composers for Buñuel’sL’Age d’Or, Eisenstein’s Battleship Potemkin, Chaplin’s East Street and – jointlywith Mariam Rezaei and Richard Stopford – Dimitri Kirsano�’s Ménilmontant).

In January 2009 Martyn Harry took up his present post as a university lecturer atthe Faculty of Music, specialising in Composition, with tutorial responsibility formusic at St Anne’s.

James Dooley. James’ work has a strong focus on the interaction between soundand its environment. Often employing technology to create digital feedback loops,



his installations and performance works often focus on creating a sense of place –a meta-environment – which the audience can explore and experience.

His works have been performed and exhibited internationally and include: ‘Tor-ture Garden’, a sound work commissioned for Hugo Dalton’s 2012 solo exhibitionat Bermondsey Project Space, London; ’limina’, a self-reflexive audio-visual instal-lation exhibited during the Supersonic Festival 2012, UK and Athens Slingshotfestival 2013, USA; and ’Feuerwerks’, an audio-visual work exhibited during the4th Vuotociclo Festival, Italy.

Jamie Savan is a Senior Lecturer in Music at Birmingham Conservatoire, as wellas working as the Conservatoire’s Associate Director of Research and Director ofthe Music Performance Research Hub. He joined the University in 2016, havingpreviously worked as a Senior Lecturer and Head of Performance at NewcastleUniversity.

He also works as a solo recitalist, and as an orchestral principal with the EnglishBaroque Soloists under Sir John Eliot Gardiner. He has performed in most Euro-pean countries, as well as the USA, Mexico, Israel and Japan, and his playing maybe heard on over 30 commercial CD recordings (significant research-led record-ings are listed below; a full discography may be found on his personal web page:www.jamiesavan.com).

He is also interested in organology, with some of his recent work focusing on theapplication of emerging 3D-printing technologies for organological research (seewww.cyberzink.co.uk for more details).

Jamie’s research has been published in journals such as Early Music and the His-toric Brass Society Journal, and he is a contributor to the revised Grove Dictionaryof Musical Instruments (2015) and the forthcoming Cambridge Encyclopedia ofHistorical Performance Practice.

Between 1997 and 2010, Jamie worked variously as a visiting lecturer / tutor atthe University of Hull, University of Birmingham, Guildhall School of Music andDrama, and the Royal Welsh College of Music and Drama. He has given invitedlectures and guest masterclasses at many institutions in the UK, Europe and theJuilliard School, New York City.

M2.3 Gil Dori"Tenir el cap ple de..."

“Tenir el cap ple de. . . ” is an open-form composition in which anEEG conductor controls a digital graphic score in real-time. Thescore, taken from the Barcelona metro map, shows lines in di�er-ent colors. Lines appear on the score in response to brain activityinformation, which represents the conductor’s current emotionalstate. The shape of the lines, their color, their strength, and in-dicated fixed pitched provide the performers framework for inter-preting the score, as a structured improvisation. The indicatedpitches are placed where metro stations are shown on the originalmap, and they were determined by analyzing field recordings the


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composer took in the stations and trains of the Barcelona metrosystem.


Gil Dori is interested in interactive electronic music, indeterminacy, graphic no-tation, proportional procedures, and Jewish music.

Gil is an artist in residence at the Phonos Foundation, Barcelona, and a professorof computer music at Ben-Gurion University and Sapir Academic College, Israel.Gil also takes part in the EyeHarp Project, helping to develop accessible digitalinstruments.

His music has been featured on international festivals and conferences such asSound and Music Computing, SEAMUS National Conference, MUSLAB, NewYork City Electroacoustic Music Festival, and Balance-Unbalance. Gil also par-ticipated in masterclasses and workshops given by Georg Friedrich Haas, PierluigiBillone, and Jean-Francois Charles.

Gil graduated with a Doctor of Musical Arts degree from Arizona State University,where he taught a Jewish music class, served as president of the Society of Com-posers, Inc. student chapter, and co-directed the Laptop Orchestra of ArizonaState. He holds a Bachelors of Arts degree from Haifa University, Israel, where hegraduated Summa Cum Laude.

Gil was also the artistic director and curator of the concert series Can There BeMusic After Auschwitz?, which featured live performances of works that were writ-ten during the Holocaust, and of compositions that were created in response toit. This series was made possible through a grant Gil received from the SchwartzScholars Fund, in partnership with the Arizona Jewish Historical Society, and theTempe Public Library.

Oded Zehavi, Garth Paine, and Glenn Hackbarth are among Gil’s primary com-position teachers, as well as Kotoka Suzuki, who chaired Gil’s D.M.A. Committee.

M2.4 Joshua TomlinsonA Short Story

The typewriter’s singular function makes it synonymous with sto-rytelling for me. In A Short Story the instrument is first heardalone, then progressively its sound becomes further and furtherremoved from reality in real time. Additional sounds that helpconstruct the narrative are triggered by a lamp, the only sourceof light. The audience is invited to observe an author during hiscreative and emotional outpouring – to hear his memories andimagination.

A Short Story is inspired by the life of one of my favorite authors:Ernest Hemingway. Performing this work in Spain would be spe-



cial for me, as Spain held such a special place in Hemingway’sheart.


Joshua Tomlinson. Originally from the Outer Banks of North Carolina, JoshuaTomlinson is a composer, sound designer and educator specializing in electroa-coustic music and technology.

His background is rock and roll with subsequent classical training in voice andguitar, and his compositions incorporate a range of musical styles, instrumentationand media.

His compositions have been performed at numerous conferences and festivals in-cluding PARMA, NSEME, SEAMUS, EA Barndance, EMM, and the Royal MusicAssociation (UK).

Joshua serves on the steering committee of the New York City ElectroacousticMusic Festival and he has participated as a composer and audio technician atNYCEMF since 2012.

He accepts commissions to compose original music for film, solo performance,ensembles, dance companies, and visual art installations.

Joshua is an adjunct professor of music at MACU in Oklahoma City, and he isset to complete his D.M.A. in Composition at the University of Oklahoma in May2019.

He and his wife Hannah share their Norman home with a salsa garden and fourcats.

M2.5 Francesco Roberto Dani and Riccardo NovellaMimesi

This piece is an exploration of the timbric and expressive possibili-ties within the integration between saxophone and real-time signalprocessing. The question is: how can an acoustic instrument andlive electronics be integrated to communicate at a higher expres-sive level compared to single instruments? This work proposesone of the infinite answers, resulting in an immersive and relaxedambientation where the two instruments melt together to createan unique sound.


Francesco Roberto Dani was born in Italy on 1993. He obtained a Master de-gree in Electronic Music at Conservatory of Music "C. Pollini" of Padua (IT), andworked as research collaborator for the Department of Electronic, Informationand Bioengineering (DEIB) atPolytechnic University of Milan (IT) in the field ofautomatic prosody recognition. His performances/installations were performed invarious concerts and conferences, including International Computer Music Con-ference 2016 (NL), Colloqui di Informatica Musicale 2016/2018 (IT) and Sound


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and Music Computing Conference 2018 (CY). Currently he teaches electronic cir-cuitry and data mining for data sonification at SAE Institute of Milan (IT). Hismain fields of interest are real-time audio processing and music improvisation.

Riccardo Novella was born in Italy in 1997. He achieved the Saxophone degreeat the Conservatory of Music "A. Pedrollo" of Vicenza (IT) and is currently attend-ing the Master of Saxophone at the same institute. He collaborates with variousinstrumental ensembles and orchestras of Veneto, ranging from a classical reper-toire to the jazz improvisation. In the last period he approached the electro-acousticimprovisation with excellent results.

M2.6 Ji Won Yoon and Woon Seung YeoChildhood memories - distant but close

Childhood memories - distant but close aims to present the frag-mentary memories of the composer’s childhood with sound mate-rials including the voice of a young boy, a percussion instrument,and various sounds of nature. As the essential sonic ingredientof the piece, the boy’s voice was processed by granular synthesisusing Common Lisp Music (CLM) and transformed into parti-cles of various sizes, producing a uniquely nostalgic multi-layeredsonic landscape full of minute gestures with the "scents" of chorus,whisper, chant and hum, simultaneously.

Illusive visual of the piece is created in real-time with numerouslines whose motions are controlled by Perlin noise. More thanone thousand smooth and curvy lines come and go, change colorsand courses over time, reflecting various sonic impressions of thepiece.


Ji Won Yoon (composer) is active as a composer of both acoustic and electricmusic. She is interested in artistic applications and realizations of various com-puter music technologies, emphasizing multi-modality with sound at the center.She earned her B.A. and M.A. degrees in Music (Composition) from Yonsei Uni-versity, completed doctoral courses in Computer Music Composition at DonggukUniversity, and studied at the Center for Computer Research in Music and Acous-tics (CCRMA), Stanford University as a visiting researcher. Currently she is Assis-tant Professor at the Department of Music Production, Artech College, KeimyungUniversity.

Woon Seung Yeo (visual artist) is a bassist, media artist, and computer musicresearcher. He is Associate Professor at Ewha Womans University, Seoul, Korea,and leads the Audio and Interactive Media (AIM) Lab. Dr. Yeo has received B.S.and M.S. degrees in Electrical Engineering from Seoul National University, M.S. inMedia Arts and Technology from University of California at Santa Barbara, andM.A. and Ph.D. in Music from Stanford University. His research interests includeaudiovisual art, cross-modal display, musical interfaces, mobile media, and audioDSP. Results of his research are commonly shared by exhibitions and performancesin the public interest.


Acknowledgments

The 16th Sound & Music Computing Conference (SMC 2019) was made pos-sible thanks to the hard work of many people including the authors, the review-ers, all the members of the Conference Committee and other collaborators.

Special thanks go to the Conference Sponsors:

• Platinum Sponsors:

– Universidad de Málaga, Andalucía Tech.

• Gold Sponsors:

– FAST: Fusing Audio and Semantic Technologies For Intelligent Mu-sic Production and Consumption.

• Silver Sponsors:

– Audio-Technica Corporation.

• Bronze Sponsors:

– Applied Sciences, MDPI.

– The Nordic Sound and Music Computing Network (Nordic SMC).

– Fundación Unicaja.

The SMC 2019 Conference is possible only thanks to the excellent contri-bution of the SMC community. The biggest acknowledgment goes to you, theauthors, researchers, musicians and participants of this conference.

General Chairs SMC 2019Isabel BarbanchoLorenzo J. Tardón

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Author Index

Andreuccetti, Nicoletta, 6, 17

Ballerini, Lorenzo, 6, 16Barton, Scott, 7, 24Blackmore, Simon, 7, 23Bossi, Francesco, 7, 25Brandon, Amy, 6, 14

Climent, Ricardo, 6, 12

D’Amato, Massimo, 6, 16Dani, Francesco Roberto, 8, 31Dooley, James, 8, 28Dori, Gil, 8, 29

Eigenfeldt, Arne, 7, 20

Fierro, David, 7, 22

Gatti, Alberto, 6, 16Granzow, John, 6, 10

Hao, Te, 7, 24Harry, Martyn, 8, 28

Jie, Man, 7, 21

Kreković, Gordan, 8, 27

Moschos, Fotis, 7, 22

Novella, Riccardo, 8, 31

Pecquet, Frank, 7, 22Pecquet, Justin, 7, 22

Rhodes, Chris, 6, 10

Savan, Jamie, 8, 28

Takaoka, Akira, 6, 11Tipei, Sever, 7, 26Tomlinson, Joshua, 8, 30

Weeter, Je�rey, 7, 20

Yeo, Woon Seung, 8, 32Yoon, Ji Won, 8, 32

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ORGANIZATION

SPONSORS

Platinum Sponsors

Gold Sponsors

Silver Sponsors

Bronze Sponsors

Other collaborators


Conference Program

Tuesday, May 28

Wednesday, May 29

Thursday, May 30

Friday, May 31

09:00 REGISTRATION ORAL S3 ORAL S6 09:30

WiSMC

WELCOME 10:00

KEYNOTE 1 10:30 COFFEE P2 & D2 COFFEE P3 & D3 11:00 COFFEE P1 & D1

KEYNOTE 2 KEYNOTE 3 11:30

ORAL S1 12:00 ORAL S4 ORAL S7

13:00 LUNCH POSTER P1 &

DEMO D1

LUNCH POSTER P2 &

DEMO D2

LUNCH POSTER P3 &

DEMO D3

14:30

ORAL S2 ORAL S5 MUSIC M1 ORAL S8 MUSIC M2

16:30

AWARDS & CLOSING 17:00

18:30

CONCERT

MUSIC SMC

19:00 REGISTRATION 19:30

WELCOME RECEPTION

20:00

DINNER

smc2019.uma.essmc2019.uma.es/docs/SMC2019_Music_Program_Notes.pdfDanza nº1 “La vida breve”...

Documents

Transcript of smc2019.uma.essmc2019.uma.es/docs/SMC2019_Music_Program_Notes.pdfDanza nº1 “La vida breve”...