Bengt Hambraeus Was One of the Ics

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the American Society for Cybernet- Bengt Hambraeus was one of the ics. Much of his instrumental and leading experimental composers of electroacoustic music has been re- the 1950s and a participant in the leased on CD. His electroacoustic entire modern era of electronic mu- works include: Anepigraphe (1958), sic. His oeuvre covers a range of Klange unterwegs (1962), Futility genres and his music is widely

(1964), Sonoriferous Loops (1964), known through the broadcast media Downloaded from http://direct.mit.edu/comj/article-pdf/25/2/9/1853246/014892601750302543.pdf by guest on 25 September 2021 Infraudibles (1968/1984), Piece of and in numerous recordings. Author Prose (1972), Dust (1976) (SAWDUST of many articles, essays, and books No. 1), More Dust (1977) (SAWDUST on musicological topics from the No. 2), Dustiny (1978) (SAWDUST 16th to the 20th century, his most No. 3), A Mere Ripple (1979) (SAW- recent book is Aspects of Twenti- DUST No. 4), U-TURN-TO (1980) eth-Century Performance Practice: (SAWDUST No. 5), I toLD YOU so! Memories and Reflections (1997). (1981) (SAWDUST No. 6), and on stilts among ducks (1996). “The Space of Sound” and “Metamorphoses” 2000 Bengt Hambraeus (1928–2000) Figure 1. Herbert Brün. Composition and Spatialization Bengt Hambraeus, composer, organ- Competition Prize-winners Herbert Brün (1918–2000) ist, scholar, and educator, died in Apple Hill, Ontario, Canada on The seventh international Herbert Brün, pianist, teacher, and Thursday 21 September 2000. Born in acousmatic festival “The Space of composer of many pieces of elec- Stockholm, he received his early edu- Sound” was held in Brussels, Bel- tronic and computer music over cation in Sweden and was granted his gium, 13–22 October 2000. The fes- four decades, died on Monday 6 No- Ph.D. from Uppsala University in tival featured solo concerts and vember 2000 in Urbana, Illinois, 1956 for a study of Renaissance mu- master classes by Elzbieta Sikora, USA, after a long illness. Over sev- sic. Following this, he worked as an Denis Smalley, Christian Calon, Léo eral decades, he wrote numerous early pioneer in electroacoustic mu- Küpper, Christian Zanési, Robert works and music for theater in Ger- sic in Milan, Darmstadt, and Co- Normandeau, François Bayle, and many and Palestine, where he was a logne, where he produced Doppelrohr Daniel Teruggi. The results of the student of Stefan Wolpe. He moved II, one of the first pieces of Swedish biennial acousmatic composition to the USA to work with Lejaren electronic music. From 1957–1972 he competition “Metamorphoses” were Hiller, and was co-host of the 1975 worked for the Swedish Broadcasting announced after the finalists’ con- International Computer Music Con- Corporation in Stockholm, and was cert in the Chapelle de Boendael in ference at the University of Illinois head of music production from 1968– Brussels on the opening night of the at Urbana-Champaign, where he 1972. He emigrated to Canada in festival. The jury comprised Francis taught composition and experimen- 1972 to join the Faculty of Music at Dhomont (president), Beatriz tal music from 1963–2000. His com- McGill University where he taught Ferreyra, Léo Küpper, Elzbieta puter-generated graphics have been composition, theory, musicology, and Sikora, Denis Smalley, and Hans exhibited internationally, and were organ improvisation until his retire- Tutschku. The first prize was featured in Computer Music Jour- ment in 1995. He was a member of awarded jointly to Åke Parmerud nal, Vol. 5, No. 2, summer 1981. the Canadian League of Composers, (Sweden) for Les flûtes en feu and His collected writings, in English the Canadian Electroacoustic Com- Aliocha Van Der Avoort (Belgium) and German, are being prepared for munity, the Royal Swedish Music for her piece Tropisme. The public publication. Academy, and the Swedish Compos- prize was awarded jointly to Stephan Herbert Brün co-founded the ers Society. He was awarded the Dunkelman (Belgium) for Dreamlike School for Designing Society in Royal Swedish Gold Medal Litteris et Shudder in an Airstream and Suk- 1993, and was actively involved with Artibus in 1986. Jun Kim (South Korea) for Midong.

News 9 The pre-selection jury had se- troacoustic Music (BeFEM-FeBeME), Fourth National Symposium lected, out of 115 entries from 26 http://gallery.uunet.be/alver/bef-feb. of Computer Music and countries, 6 finalist pieces to be performed at the concert, and these all Image—Cordoba, Argentina appear on the Metamorphoses 2000 MUSICA NOVA 2000 CD. In addition to the prize-win- A two-day symposium on computer ners, the finalists were Ingrid Drese In November 2000, the Society for music and art, organized by Eleazar Downloaded from http://direct.mit.edu/comj/article-pdf/25/2/9/1853246/014892601750302543.pdf by guest on 25 September 2021 (Belgium) with Papillon, Abme, Nuit Electroacoustic Music of the Czech Garzòn, was held 27–28 September and Jorge L. Sad (Argentina) with Republic announced the prize-win- 2000 in the Spanish Cultural Center Aspavientos. Mentions were made ners of the international electroa- in the city of Cordoba, Argentina. It of Jens Hedman (Sweden) for Relief, coustic music competition, Musica included lectures and concerts of Theodoros Lotis (Greece) for La mer, Nova 2000, and the prizes were pre- music by composers from Argen- Bruno Capelle (France) for De fil en sented during the award concert in tina, Colombia, Spain, Sweden, New ville, Benjamin Thigpen (France/ December 2000 in Prague. The jury Zealand, and the USA. USA) for step, under, and Gilles for the 2000 competition, Reiner Lectures were given by Roberto Gobeil (Canada) for Projet Proust. Bürck, Wanda Dobrovská, Lenka Rue, on microtonality; Miguel The competition included a section Dohnalová, Juraj Duris, Miroslav Calzon, on imitation, variation, and for students under the age of 28. In Kaduch, Rudolf Ruzika, and Milan development through algorithms; this category, the following prizes Slavicky, considered pieces from 27 Ricardo Dal Farra, on new educa- were awarded: first prize to Bernat countries. tional possibilities in the domain of Vivancos (Spain) for Images, which In Category A, compositions of au- multimedia creation; and Carlos will also appear on the CD, and sec- tonomous electroacoustic art music, Ferpozzi, on sound, color, and form. ond prize (a residency at the studio the first prize was awarded to Mat- Concerts presented music by of Musiques & Recherches) to thew Burtner (USA) for his piece Eduardo Allende, Larry Austin, Panayiotis Kokoras (Greece) for Fern. Honorary mentions were made Enrique Belloc, José Manuel BreakWater. Mentions were made of of Robert Normandeau (Canada) for Berenguer, Carlos Cerana, Miguel Intra by Frank Ekeberg (Norway) and Malina and Mario Valenti (Italy) for Calzòn, Teodoro Cromberg, Lucio Gutura by Pablo Garcia (Mexico). Luke 2,1-7. In Category B, composi- Cuellar, Ricardo Dal Farra, Carlos The festival also featured a public tions for acoustic instrument, voice, Ferpozzi, Neil Flory, Martin spatialization and interpretation or ensemble and electroacoustic me- Fumarola, Eleazar Garzòn, Jens competition with two evening pre- dia, both the first prize and the spe- Hedman and Paulina Sundin, Fran- selection events leading to a final cial prize for a composition by a cisco Kropfl, Fernando Kruse, competition concert on 19 October. young composer were awarded to Ricardo Perez Miro, Michael The first prize was awarded to Shintaro Imai (Japan) for La Lutte Rhoades, John Rimmer, and Luisa James Bentley and the second prize bleue. Brett Dean (Australia) received Ventura. Proceedings of the event to Natasha Barrett. Mention was an honorary mention for Game over. have been published and the Span- made of Thierry Simonot. The jury Two special prizes for Czech compo- ish Cultural Center includes details was François Bayle (president), sitions were awarded, to Dan Dlouhy of the symposium on its World Christian Calon, Francis Dhomont, for Sublimace and to Pavel Kopecky Wide Web pages, www.ccec.org.ar. Robert Normandeau, Denis for Noc Trifidu. The special prize for Smalley, Daniel Teruggi, Hans a composition by a woman was not Tutschku, and AnnetteVande awarded. Details of all the works en- 10th International Symposium Gorne. “The Space of Sound” and tered in the competition can be found on Electronic Art Held in Paris “Metamorphoses” are organized by online at the Musica Nova World Annette Vande Gorne, Musiques & Wide Web site, www.cibulka.cz/ The International Symposium on Recherches, 3 place de Ransbeck, musnova/compet.htm. The prize- Electronic Art (ISEA) has become a 1380 Ohain, Belgium. An informa- winning compositions will be per- major event for the international ar- tion page about the festival has been formed in concerts organized by the tistic community. The tenth ISEA placed on the World Wide Web site Society for Electroacoustic Music was held in Paris, France, 7–10 De- of the Belgian Federation for Elec- during 2001, and broadcast by radio. cember 2000 and brought together

10 Computer Music Journal participants from over 30 countries. sessions.Kits Beach Soundwalk by Prior, Jean Routhier, Antti Saario, Under the theme of “Revelation,” Hildegard Westerkamp, La Shiuma Dave Solursh, Jørgen Teller, Ben ISEA 2000 explored the effects of dei Rumori by René Cochini, Hid- Thigpen, Todor Todoroff, Pascale the technological revolution on art, den Lives by Cathy Lane, Voices Trudel, Hans Tutschku, Annette and its impact on society, through PART I & PART II by Todor Vande Gorne, Chris Wind, and new forms of representation such as Todoroff, La Mer by Théodore Lotis, Daniel Zimbaldo. The Friday con- digital imaging, multimedia, the vir- Emincé cosmique pour futur cert was presented in conjunction Downloaded from http://direct.mit.edu/comj/article-pdf/25/2/9/1853246/014892601750302543.pdf by guest on 25 September 2021 tuality, interactive installations, millénaire by Etienne Saur, and mu- with the Phonos Studio for Elec- and networks. The symposium in- sic by Michele Biasutti were all tronic Music, Barcelona, Spain. cluded several presentation sessions heard in this context. A concert of Andrés Lewin-Richter, Executive devoted to music and sound. Papers electroacoustic music entitled “Real Director of the Phonos Studio, were presented by Sylvie Dallet Time / Imaginary Landscapes” curated a program of music by (France), Rasmus Vuori (Finland), closed the day on 9 December. Full Gabriel Brncic, Javier Navarrete, Timothy Nohe (USA), Emmanuelle details of the program can be found Lluis Callejo, Merce Capdevila, José Loubet (Japan), Bart Bridger on the World Wide Web at the ISEA Manuel Berenguer, Alain Peron, and Woodstrup (USA), Shawn Decker 2000 site, www.isea2000.com. Igor Bimsbergen, closing the concert (USA), Teri Rueb (Canada), with his own piece, Strings. Menachem Zur (Israel), Roland The CEC hosts World Wide Web Cahen (France), Marcelo Wanderley EuCuE Concert Series pages for the CDs Cache (http:// (France/Brazil), Roland Auzet Marks CD Launch cec.concordia.ca/econtact/YESA/ (France), Antonio Camurri (Italy), Cachecd2000.htm) and PRESENCE Yan Maresz (France), Randall Packer The nineteenth series of EuCuE II (http://cec.concordia.ca/CD/ (USA), Kia Ng (UK), Cathy Lane (Electroacoustiques université Presence_II/Presence_II.html). (UK), Alain Bonardi and Chantal de Concordia university Electroacous- Sachy (France), Mikael Laurson (Fin- tics) concerts was held at Concordia land), and Todd Winkler (USA). University, Montreal, Canada, 11– Weimar New Music Festival Seminars and discussion panels also 13 October 2000. In conjunction featured in the event. with the Canadian Electroacoustic Celebrates Real-time Sound Part of ISEA is reserved for a pro- Community (CEC), EuCuE hosted Processing gram of electronic music, and for- the launch of the CDs Cache and mal concerts were presented on PRESENCE II. The four-day festival Tage für Neue three days. The Friday concert com- All works from PRESENCE II and Musik Weimar presented seven con- prised an electroacoustic program four works from Cache were played certs of music featuring live elec- presented by the IMEB at Bourges. over the first two nights of the se- tronics. The festival, which ran Saturday featured a concert celebrat- ries, with music from Spain pre- 26–29 October 2000, opened with a ing 52 years of electroacoustic cre- sented on the third night. The concert by the Basel Electric Art ation at the Groupe de Recherches Wednesday concert was made up of Messengers (BEAM)—a voice, per- Musicales (GRM) and, in the after- pieces by Nicolas Borycki, David cussion, and live electronics en- noon, an overview of Canadian elec- Berezan, Jorge Antunes, Alastair semble performing works by troacoustic music proposed by the Bannerman, Peter Batchelor, Steve Almada, Kelterborn, Heiniger, Association pour la Création et la Bradley, Chin-Chin Chen, Jef Aperghis, Viñao, and Kessler. The Recherche Electroacoustiques Chippewa, Ian Chuprun, Gordon following day, the Miso Ensemble of (ACREQ). On Sunday, electroacous- Fitzell, Martín Alejandro Fumarola, Portugal—flute, percussion, piano, tic music by Latin American com- Thomas Gerwin, Yves Gigon, Bar- and live electronics—gave a concert posers was presented by Ricardo Dal bara Golden, Martin Gotfrit, and of music by Miguel and Paula Farra of Electronic Arts at the Otto Joachim. The Thursday con- Azguime. Multimedia works were Universidad Nacional de Tres de cert presented works by Mathieu presented in a dedicated session, Febrero (UNTREF) in Argentina. In Marcoux, Mark J. Hannesson, Suk when the 1990 film Wind sei stark the large auditorium, throughout Jun Kim, Sylvi MacCormac, Kevin by Jochen Krausser, with music by the symposium, music was pre- MacLeod, Diana McIntosh, Dugal the Ensemble für Intuitive Musik sented between paper and panel McKinnon, Adrian Moore, David Weimar (EFIM), was shown along-

News 11 side Kerstin Wagener’s 2000 video Canada, on 31 October and 1 No- Melbourne, Australia, 17 Novem- NochDreiSekundenSchwarz with vember 2000. Presented as part of ber–3 December 2000. Sonic Resi- music by Hans Tutschku. the festival “Super Mic Mac” dues 02 consisted of two major The third day of the festival fea- (Musiciennes innovatrices components: a series of seven con- tured a concert of recently com- canadiennes; Musique actuelles et certs of electroacoustic music, and posed music for tape by Luigi contemporaines), Chantale Laplante sound installation works which

Ceccarelli, Jonty Harrison, Elsa served as curator for a program con- evolved across the festival period. A Downloaded from http://direct.mit.edu/comj/article-pdf/25/2/9/1853246/014892601750302543.pdf by guest on 25 September 2021 Justel, Åke Parmerud, Hans sisting entirely of music by women particular feature of the 2000 festi- Tutschku, and Horacio Vaggione. composers from Quebec, Ontario, val was a focus on the use of the This was followed by the second ap- and British Columbia. Tuesday’s Internet for sound streaming and pearance of EFIM, who performed concert comprised Ocean of Ages MIDI data streaming, enabling the new live-electronic compositions for Revealed by Wende Bartley, Soleil active participation of composers trumpet, cello, and piano, written qui inonde mes mains by Pascale and improvisers remote from the for the 20th anniversary of the en- Trudel, La chimère et les libellules festival venue. semble. The final day saw the inau- by Gaëlle Lemasson, yyyyy by The installation program included guration of the sound installation Jenya, … et c’est grave? by Karèya works by artists who are relatively KlangSpirale by Hans Tutschku. Audet, Birth/Rebirth Bearing Me by new to the field as well as those The festival closed with a concert Susan Frykberg, Siffler (extracts who are well established and inter- by Mike Svoboda of the USA, on from Pôles) by Ginette Bertrand, nationally recognized. The cross- alto- and tenor trombone, eupho- and Griffe 4 by Marcelle Deschênes. pollination of these differing levels nium, alphorn, and electronics, per- The Wednesday concert presented of experience was intended to en- forming his own music alongside Claudia Tamayo’s La luna es un courage a dialog about approaches, works by Luciano Berio, John Cage, pozo triste, Martine H Crispo’s perceptions, aesthetics, and tech- Morton Feldmann, Adriana Comment dire toute la vérité, rien niques and address the current aes- Hölszky, Alvin Lucier, Giacinto que la vérité, Chantale Laplante’s thetic, and developments in Scelsi, and Iannis Xenakis. objets, Micheline Coulombe Saint- practice. The concert program con- Marcoux’s Moustières, Catherine sisted of seven concerts, containing Chaumont’s Am, Monique Jean’s works from over 60 composers from “Rien à Voir” in Montreal Danse de l’enfant esseulée, and around the world. Sonic Residues 02 Features Women Composers Hildegard Westerkamp’s Cricket also featured forums outlining tech- Voice. niques in sound spatialization, and Réseaux, the Montreal concert orga- fostering debate about the possible nization devoted to acousmatic mu- divisions between academic and sic, has promoted the “Rien à voir” Sonic Residues 02, Melbourne, “fringe” or popular electronic music concept, in which invited electroa- Australia styles. Detailed information and full coustic musicians are given carte concert listings, with program blanche to conceive an evening’s Sonic Residues 02, a festival of elec- notes, are available online at the program. The eighth “Rien à voir” troacoustic music and sound art festival’s World Wide Web site, took place in the Montreal Museum events, took place at the Australian www.activatedspace.com.au/ of Contemporary Art, Montreal, Center for Contemporary Arts, SonicResidues/SonicRes02/.

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