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Ars Electronica Selection 2015 (Call for Acousmatic Works) 22 & 23 May

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Ars Electronica Selection 2015 (Call for Acousmatic Works) 22 & 23 May Ars Electronica Selection 2015 (Call for acousmatic works) Marc Ainger - Shatter Alfredo Ardia – Uno Marie-Hélène Breault and Martin Bédard - Replica Alfredo Ardia – Due Marc Ainger is a sound artist and composer whose work has Marie-Hélène Breault been performed throughout the world, including the Alfredo Ardia Very active in the interpretation of contemporary music, flutist American Film Institute, the KlangArts festival, Gageego New Class 1989, I studied at LEMS (Pesaro, IT) and at CMT Marie-Hélène Breault occurred with the Contemporary Music Music Ensemble, Guangdong Modern Dance, the (Helsinki, FI). My work is focused on sound and its relation Society of Quebec (SMCQ), the Ensemble contemporain de Royal Danish Ballet, Streb, the New Circus, and Late Night and interaction with other elements in the audio-video, Montreal (ECM) and in the many events of Innovations en with David Letterman. Awards include the Boulez/LA performance and sound art fields, aimed to a language concert, codes d’accès and Jeunesses musicales du Canada. Philharmonic Composition Fellowship, the Irino International encoding. I am interested in equilibrium, synchronism and its She has given concerts abroad and has participated in several Chamber Music Competition, Musica Nova, Meet the perception, and inspired by the beauty of the physics of creations of Canadian and international composers. Since Composer, the Esperia Foundation, and the Ohio Arts Council. waves. September 2008 she is the artistic director of Error Type 27 As a sound designer he has worked with the Los (E27), an organization dedicated to contemporary art in the Angeles Philharmonic, the Olympic Arts Festival, Pacific Coast Processi region of Quebec (Canada). She has received grants from the Soundworks, and Waveframe, among others. Processi is a series of processes which explore the nature of Canada Council and the Conseil des arts et des letters du elementary sound entities. It started as observation of sound Quebec and received first prize for his interpretation of Program Notes for Shatter behaviors with an experimental approach focused on Kathinkas Gesang als Luzifers Requiem during the Shatter hyper-navigates a series of environments, some of perception of wave interference, superposition, phase Stockhausen-Kurse Kürten 2006. Alongside his career in which are real, some of which are imagined. There is, of influence, resonance and other acoustic phenomena. During interpretation, she pursued doctoral studies in musicology at course, an ambiguity between the real and the imagine, the these listening sessions I got more and more fascinated by the University of Montreal under the direction of Michel synthesized and the concrète. Shatter was created using MAX these processes so that I started to think about it as a series Duchesneau and Caroline Traube. and Csound. of compositions which structure and gestures were slowly reveled within my brain by the sound itself. These processes Martin Bédard are generated by a computer so that time is not a fixed He graduated in instrumental composition from the University parameter and different versions (shorter of longer) Laval (Quebec, Canada). Following a course of five years with of the same process can exist. the composer Yves Daoust and André Fecteau, he graduated with the high distinction from the Conservatory of Music of Due [Processo #2] Montreal in electroacoustic composition. He recently duration: any completed a PhD in electroacoustic composition at the The combination of two compound tones, under the proper University of Montreal with the composer Robert conditions, can causes two particular phenomena. Firstly, Normandeau. His works have been presented in more than 50 when the two tones have slightly different frequencies beats national and international events and festivals. He is the phenomenon occurs, resulting in a sound which amplitude is winner or finalist of eleven international competitions. periodically modulated at a speed equal to the difference Including an "Award of dictinctions" at the 2010 Ars between the two frequencies. Secondly, when this difference Electronica competition and first prize for his play "Champs de is too high to produce beats, combinational tones occur. fouilles (Excavations)" Computer Space in 2010 in Bulgaria These are additional tones, created in our auditory system, and the latest edition of the International Electroacoustic which frequencies are equal to the difference and the sum of Music Contest 2009 in Brazil . He is a member of the artistic the frequencies of the original tones. Due (in english Two committee of RÉSEAUX. Besides his activities as a composer, [Process #2]) is composed by two sine waves which he teaches aural perception, composition and analysis of frequencies slowly move away, until one is the double of the electroacoustic music at the Music Conservatory of Montreal other. During this process, the wave's superposition produce and electroacoustic composition at the University of Montreal acoustic interferences and sound illusions, caused by beats as a lecturer. and resultant tones, adding more components to the composition than what the composer really generates. The The Replica project is implied by existential opposition structure of Due is somehow composed in our brain by the between continuity and transformation contained in the maxim sound itself. "eadem mutata resurgo" or "I rise again changed but the same". The piece is realized only from flute sounds, mostly Uno [Processo #1] from the instrumentalist old records and new materials duration: any generated during a first instrumental writing. Replication of Uno (in english One [Process #1]) is inspired by the nature of these materials by a second media ecriture created various impulse and white noise. Ideally, an impulse is a micro- parts in which are interpreted first, the instrument (flute) and temporal sound entity with an infinite period which can its expressive potential, and secondly, the instrumentalist and stimulate the full audible spectrum. Millions of impulses rapidly its history. Replica in the dichotomous relationship between reproduced in a random sequence create a white noise. continuity and transformation is divided into four compositional Ideally, a white noise is an entity which include equally and methods: the contrast between the pure instrumental sound simultaneously all the audible spectrum. I like to think about and its reconstructed, the design of new materials from old impulse and white noise as the two extremes of the same recordings, the gradual transformation of motivic cells and sound entity, as the maximum and minimum manifestation in sonic objects based on repetition and the duplication of the the temporal and spectral dimensions. This composition is a instrumental field to the electroacoustic media (transcription process of accumulation, growth and multiplication of the and material development). On the way to instrumental utopia, number of impulses reproduced till the creation of a white the project took the form of an acousmatic piece. noise. Note. Even if the composition has been conceived for system with a large number of speakers, it can be reproduced in any configurations. 22 & 23 May 2015 - 23h30 www.ForumWallis.ch Ars Electronica Selection 2015 (Call for acousmatic works) Michael Fuchsmann - Consolation Stijn Govaere – far bollire piano per 8 minuti Volker Hennes - Ewok Poltergeist Revelations #17 – Total Stijn Govaere – Glass FluXed Antidote Michael Fuchsmann is a Russian composer, musicologist, arranger, teacher and performer (piano, keyboards, violin). He Stijn Govaere (º1971) is a Belgian composer based in Volker Hennes (*1976) was born in 1964 in Rostov-on-Don. It was the Rostov State Auckland (NZ). He studied harmony, counterpoint, analysis, studied at the Academy of Media Arts Cologne; works as Rakhmaninov Conservatory (RSRC) where he was graduated orchestration and composition in the class of Roland Coryn at composer and sound-artist focussing on methods of from and later has got a postgraduate course under the Royal Conservatory of Ghent and Acousmatic Music production and reproduction of temporal and local organized supervision of Prof. Vitaly S. Khodosch (composition). Later Composition and Spatialised performance at Musiques & sound – synthesized and replicated incidences. Member of M. Fuchsmann also studied as a musicologist under Prof. Recherches with Annette vande Gorne. Additional studies soundart-group "Therapeutische Hörgruppe Köln", intermedia- Tatyana V. Frantova and have taken his Ph. D. degree in Art (seminars, master classes, etc..) on sound synthesis and supergroup "Frequenzwechsel" and the psycho- Criticism in 2002. The works of M. Fuchsmann are executed algorithmic composition with Alberto de Campo, Fredrik electroacoustic "The Knob, The Finger & The It". Co-curator of mostly by Russian musicians including Russian folk Olofsson, Sergio Luque, Dan Stowell, Nick Collins, José "Brückenmusik" and "Raummusik". Current album release instruments orchestra «Don» (Rostov-on-Don), «Studio for Manuel Berenguer. His compositional output ranges from "Emperor Ambassador" on Entr'acte. Concerts, performances New Music» (Moscow), «Moscow Contemporary Music electroacoustic work to music for instruments with or without and presentations amongst others: Música Viva / Portugal, Ensemble» , «eNsemble» (St.-Petersburg), «Capriccio», live electronics. His music has been performed across Europe MANTIS Festival / Manchester, ZKM /Karlsruhe, Brussels / pianists Mikhail Dubov, Sofia
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