News

Delia Derbyshire (1937–2001) 1962 Dartington summer school. ). The Gold Pierre was Later, in collaboration with Brian awarded to Ludger Bru¨ mmer (Ger- Hodgson and David Vorhaus, she set many) for Nyx, and the Silver Pierre Delia Derbyshire, British pioneer of up Kaleidophon, an independent stu- to (UK) for Abstracts , died in Northamp- dio where she worked on the classic for tape and large orchestra. No mag- ton, England, on 3 July 2001, aged album Electric Storm (1968), which isterium was awarded. Residencies 64. Born in Coventry, England, she was credited to White Noise and re- went to Abdul Wahid Hasnizam (Ma- was educated at Coventry Grammar leased on Island Records. This studio laysia) for Fatihah, Paavo Impio (Fin- School and Girton College, Cam- continued to put together electronic land) for Kaleva, Mei-Fang Lin bridge, graduating in music and music for the London theatre of the (Taiwan) for Interaction, Felipe Perez mathematics. She joined the British late 1960s. In 1973 she left the BBC Santiago (Mexico) for Ofaniel (angel Broadcasting Corporation (BBC) in and after a short period with a pri- de la luna), Juan Pablo Sorrentino 1960 as a studio manager and trans- vate studio she gave up composi- (Argentina) for Mi Primer Cello, and ferred in 1962 to the Radiophonic tional work for many years. Rogelio Sosa (Mexico) for Tenso II. Workshop, where she remained until Recently, she had returned to take In the category for electroacoustic 1973. During that time she produced an interest in electronic music, en- music alone, prizes were awarded to music and sound for almost 200 ra- couraged by members of a younger Natasha Barrett (UK) for Utility of dio and television programs. In 1963, generation, such as Sonic Boom and Space and Suk-Jun Kim (Korea) for she realized one of the first elec- Aphex Twin, to whom she had be- Midong. Mentions were made of tronic signature tunes ever used on come a cult figure. Her works from Werner Cee (Germany) for Cities’ television: Ron Grainer’s score for the 1960s and 1970s continue to be drift and Blas Payri (France) for Pay- the science fiction series, Dr Who. used on radio and television some 30 sage enseveli. Prizes for electro- Using concrete sources and the years later. Delia Derbyshire used an acoustic music with instruments Workshop’s oscillators and filters, analytical approach to synthesize were awarded to Mathew Adkins she produced what is probably one of complex sounds from electronic (UK) for Noumena for cello and tape, the most famous television themes sources. The mathematics of sound and Pinter Gyula (Hungary) for Les ever. Although Dr Who made the Ra- seemed to come naturally to her, but cloches de flammes roses for soprano diophonic Workshop nationally fa- she believed that the way the ear and and tape. Mention was made of Rob mous, it was Derbyshire’s other brain perceive sound should have Wright (UK) for Arco for cello and drama and features work that showed dominance over any basic mathe- tape. Under sonic art, prizes were her greatest talent, particularly her matical theory. awarded to Nicholas Parkin (UK) for 1964 collaborations with the poet Magmas and Andrea Szigetvari (Hun- and dramatist Barry Bermange (The gary) for Mandala 1. Mentions were Dreams and Amor Dei) and her work made of Marc Beugnies (France) for for the documentary series The Competition Awards, Incidences et Re´flexions sur la World About Us. In 1967, she Synthe`se Festival and Journe´es Naissance d’une Etoile, and Michele worked on Guy Woolfenden’s elec- Biasutti () for Deep Sea. No prize tronic score for Peter Hall’s Royal d’Informatique Musicale, was given for a piece for dance or Shakespeare Company production of June 2001 theatre but mention was made of Macbeth, and on Hall’s film Work is . . .seine hohle form. . . by Butch a Four Letter Word. Award winners of the 28th Interna- Rovan (USA). Similarly, in the instal- In the mid 1960s she worked ex- tional Competition of Electroacous- lation category only one piece re- tensively with Peter Zinovieff, the tic Music and Sonic Art have been ceived a mention: Potential synthesizer pioneer. During this announced from a total of 501 pieces, Difference by Ted Apel (USA). Prizes time, she also worked with a wide submitted from 46 countries. The for multimedia works went to Miguel range of composers and musicians in- jury for the 2001 competition com- Hernandez (Mexico) for El Santo cluding The Beatles, Ianni Christou, prised Larry Austin (USA), Gisella Cuantico and Andrea Szigetvari Roberto Gerhard (on Anger of Achil- Belgeri (Italy), Janos Descenyi (Hun- (Hungary) for The Priest and the les), George Martin, Peter Maxwell gary), Dieter Kaufmann (), Shell. Davies, Harry Nilsson, Pink Floyd, and Franc¸oise Barrie`re, Thierry In its 31st year, the Synthe`se Fes- and . She was Fournier, Jean-Michel Ponty, Pascale tival took a new approach to its Luciano Berio’s assistant at the Pronnier, and Nicolas Thely (all of meetings and concerts. Throughout

News 13

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 the ten-day festival, there was a day- themes of formalization and repre- ‘‘Gallery of Latin American time program of professional meet- sentation of musical structures; for- Composers’’ in Texas, USA ings and an evening program of malization and modeling of musical public concerts. As part of the pro- knowledge; environments and lan- The University of North Texas Com- fessional meetings, morning master guages for musical composition; posers Forum presented the third classes were given by Yves Coffy, automatic composition and arrange- ‘‘Gallery of Latin American Compos- Christian Clozier, Larry Austin, ment systems; tools for musical ers’’ in Denton, Texas, USA in April James Dashow, Max Mathews, Lars- analysis; musical editing and pub- 2001. Two concerts of electroacous- Gunnar Bodin, Barry Truax, and lishing systems; optical score recog- tic music and multimedia works Giuseppe Di Giugno. The afternoons nition software; musical performance from Latin America and Spain were included ‘‘Latitude 31’’ sessions, modeling and simulation; software presented. The first concert pre- where composers who were not oth- and hardware interfaces for musical sented Monalisa Overdrive II by erwise programmed could play and performance; sound synthesis sys- Daniel Antonio Miraglia, El Santo discuss a single work with a seminar tems and environments; musical in- Cuantico by Miguel Hernandez, Ar- audience, the open work project The strument modeling; signal analysis gos by Martin Fumarola, La distan- Creation of the World, and a series and processing systems; sound spa- cia mas recta entre dos puntos by of studio concerts presenting pieces tialization and acoustic modeling; Roberto Garcia, Orange (lima-limon) by previous Bourges prizewinners, software and hardware systems for by Juan Reyes, Kol Ha Torr by Rajmil many of the pieces receiving their interactive music; automatic recog- Fischman, Chi-pa-boo by Elsa Justel, French premieres. nition and extraction of musical pa- and entre Santos y los Dioses by Two public concerts were held rameters; musical perception, Gustavo Alcaraz. The second concert each evening. Friday’s contemporary modeling, and simulation; normali- included Mauricio Bejarano’s Land- dance evening presented Sisters by zation, archiving and transmission of scape No. 18, Mario Verandi’s Evil Wayne Siegel and Cataton by Michel musical information; and real-time Fruit, Orlando Garcia’s Como un Waisvisz. Saturday opened with a systems and protocols for computer coro de clarinetes celestiales, Rodrigo tribute to , following Fon- music. The specialist theme for 2001 Sigal’s Tolerance, movement 3 of Ed- tana Mix with the world premiere of was gestural control interfaces. uardo Reck Miranda’s Grain Larry Austin’s Williams[re]Mix[er]. Streams, and Ana Lucia Fontenele’s The late evening concert was of Efeitwo. world premieres of pieces by Christian ARTS.XXI International Clozier, Patrick Ascione, Michael Karlsson, Pierre Boeswillwald, and Boston CyberArts Festival Ludger Bru¨ mmer. The rest of the fes- Competition in Spain tival paid tribute to new work and to Finalists and prize winners have During spring 2001, the second Bos- composers honored in previous been announced from the Interna- ton CyberArts Festival mounted a Bourges competitions. After the an- tional Electroacoustic Music Compe- series of events including several nouncement of the 2001 prizewin- tition ARTS.XXI, held in Valencia, world premiere performances. Under ners, the Monday concerts were Spain. Four finalists were selected, the title ‘‘Orchestral Music at the devoted to the Magisterium award from 60 submissions by composers Technological Frontier,’’ the Boston winners from 2000, Beatriz Ferreyra from 16 countries. The winner of Modern Orchestra Project, Artistic and James Dashow, and to video art the prize for music for tape alone Director Gil Rose, in association from the 2000 Trivium B. Later in was Andrew Lewis (UK) with Cable with Immersion Music, presented a the week, Mahammad Ghavi Helm Bay. Finalists in this category were three-hour concert at Symphony (percussion) and Michel Thiolat (gui- Theodore Lotis (Greece/UK) with Hall. This opened with the world tar) gave world premiere perfor- Shadows, Marcelle Deschenes (Can- premiere of John Oswald’s Concerto mances of pieces by Horacio ada) with Indigo, and John Young for Conductor and Orchestra which Vaggione, Fabio Ciffariello Ciardi, (New Zealand/UK) with Sju.No made use of the ‘‘Conductor’s Adolfo Nunez, and Eduardo Polonio. prize was awarded for music for tape Jacket’’ technology, developed at the The Journe´es d’Informatique Musi- and instrument but the jury special MIT Media Lab by Teresa Marrin cale (JIM), held immediately before made mention of Wires for tape and Nakra. This was followed by a per- Synthe`se, invited papers on the piano by Rob Wright (UK). formance of Andre´ Jolivet’s Concerto

14 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 for Ondes Martenot (1947) with solo- Conference also received an update on MIT ist Genevie`ve Grenier. The second 2001 in Belfast MediaLab Europe, along with a sum- world premiere of the evening was of mary of recent work at the parent Eric Chasalow’s Dream Songs for or- MediaLab in Massachusetts, from chestra and digital sound, with tenor The Sonic Arts Network held its Sile O’Modhrain. William Hite, both the Oswald and fourth annual conference at Queens Chasalow pieces having been com- University Belfast, Northern Ireland, missioned for this event. The concert 4–6 May 2001, in association with the Sonorities Festival of Contempo- continued with Tod Machover’s For- Audio Engineering Society ever and Ever (1993) with Ani rary Music. The conference coordina- Kavafian as the hyperviolin soloist. tor was Michael Alcorn and the guest Convention in the Netherlands The concert ended with George composer was Robert Normandeau, Antheil’s Ballet me´canique. Forever whose keynote address was titled The 110th Audio Engineering Soci- and Ever is the third part of Tod ‘‘Cinema for the Ear.’’ The pre- ety Convention was held in Amster- Machover’s trilogy for hyperinstru- conference concert of music for ba- dam, the Netherlands, 12–15 May ments and the entire Hyperstring roque flute, harpsichord, and live 2001. The sessions on the analysis Trilogy was performed at the Tsai electronics, played by Eleanor and synthesis of sound and on multi- Center in Boston the following night Dawson and Jane Chapman, pre- channel sound were of particular with Ani Kavafian, Matt Heimovitz sented pieces by Evelyn Ficarra, relevance to music. Abstracts of all (hypercello) and Kim Kashkashian Simon Waters, and Louis Andriessen, papers presented can be found on the between the world premieres of (hyperviola). World Wide Web pages of the con- works by Fergus Johnston, Simon Other musical events included a vention: www.aes.org/events/110 Emmerson, and Mike Vaughan. The 24-hour marathon of electronic mu- /papers/. six conference concerts included mu- sic at Brandeis University, a program sic by Michael Alcorn, Iain of ‘‘wired’’ solo performance at the Armstrong, Peter Batchelor, Ed Somerville Theater, ‘‘Cyber Feast’’: a Bennett, Paul Burnell, Michael concert of new digital artworks and Clarke, Ricardo Climent, Peter de MUTEK Returns to Montreal music by Dennis Miller, Bret Battey, Moncey-Conegliano, Gordon Delap, Bill Alves, Eric Chasalow, Craig John Drever, Robert Dow, Frank MUTEK, the second annual gather- Walsh, Paul Lehrman, and Neil Ekeberg, Roberto Filoseta, Pablo ing dedicated to the performance and Leonard, and ‘‘Moving Target’’: a Garcia, Stelios Giannoulakis, development of popular avant-garde concert of music and video works by Theodore Lotis, Alistair MacDonald, electronic music and sound creation, Dennis Miller, Alicyn Warren, Sylvia Robert Mackay, Peter Manning, Iain took place in Montreal, 30 May–3 Pengilly, Bill Alves, Brett Battey, and McCurdy, Adrian Moore, Piers June 2001. In five days of concerts James Mobberley, at Northeastern Quick, Brian Robinson, Rodrigo and performances, MUTEK set out to University. A one-day conference en- Sigal, Ewan Stefani, Helen illustrate the worldwide vitality of titled ‘‘Digital Polyphony’’ was held Stephenson, Nikos Stavropoulos, sound and music creation using digi- at Brandeis University on Friday 4 Mark Taylor, Horacio Vaggione, and tal technologies, welcoming 40 art- May in conjunction with the Richard Whitelaw. CyberArts Festival. The guest ists from 9 countries. The first two A late-night electroacoustic im- evenings were held at the Fellini speaker was Alejandro Vin˜ ao, who provisation was offered by Paul Theatre at the Ex-Centris complex was slated to join panelists Richard Dunmall, Alistair MacDonald, and Jo with the remainder of the festival Boulanger, Paul Burdick, Eric Hyde. The keynote concert profiled taking place in the Socie´te´ des arts Chasalow, Richard Cornell, Mario the work of guest composer Robert Davidovsky, Dennis Miller, Kurt Normandeau. The first half of the technologiques (SAT), which also Stallman, and Todd Winkler. More concert comprised Malina and the hosted the entire, free Happy Hour information about the festival and world premiere of Erinyes, commis- series. The World Wide Web site key participants can be found on the sioned by the Sonorities festival. The www.mutek.ca, developed as a World Wide Web sites of the festival second half was devoted to a perfor- virtual extension of the event, broad- (www.bostoncyberarts.org), the Bos- mance of Clair de terre. In addition cast performances live, in partner- ton Modern Orchestra Project to concerts, the weekend included ship with Beta Lounge of San (www.bmop.org), and Immersion studio reports and research and edu- Francisco. A compilation CD of thir- Music (www.immersionmusic.org). cational presentations. Delegates teen works by artists participating in

News 15

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 MUTEK was released before the fes- Contemporary Music Group con the sound material of the five musi- tival. ducted by Jonty Harrison, framed by cians, including their earlier works. electroacoustic pieces by BEAST The MAX/MSP software used was composers. The evening opened with written by David Wessel for the Pippa Murphy’s Postcard from Mos- TEMPO performance. PORTALS: World Premieres in tar, Paul Dibley’s Cine, and Adrian The third concert was devoted to Moore’s Becalmed. The BCMG then the music of Edmund Campion, Birmingham, UK presented the world premieres of the Composer in Residence at CNMAT. two mixed-media Sonic Arts Net- Six works received West Coast pre- The Birmingham Electroacoustic work commissions: No Me Quedo. . . miere performances: Sons et Lumi- Sound Theatre (BEAST) presented a by Rajmil Fischman, and Three Im- e`res, for video, player piano and three-day festival at the CBSO Cen- ages of a Fiction by Mario Verandi. eight-channel tape, commissioned tre, Birmingham, UK, 1–3 June 2001, The festival ended with the radio-art for the TEMPO festival, Corail, for featuring guest composer Javier piece Close in Distant Cold Light by tenor saxophone and live electronics, Alvarez. The final concert included David Berezan. BEAST is on the Domus Aurea, for piano and vibra- the premieres of two pieces for the World Wide Web at www.bham phone, Natural Selection V, for MIDI Birmingham Contemporary Music .ac.uk/music/ea-studios/BEAST/. Name Group by Rajmil Fischman and piano and reactive computer, Mario Verandi, commissioned by the Calling, for poet and sampler key- Sonic Arts Network. The first eve- board (with John Campion), and ning of the festival comprised two l’Autre, for ensemble with multi- concerts of music for tape alone. TEMPO Features Computer channel tape and live electronics. ‘‘Openings’’ presented Iannis Music Using MAX/MSP Concert Four presented khyal singer Xenakis’s Orient-Occident, Gilles Shafqat Ali Khan with David Wessel, Gobeil’s Le vertige inconnu, Jon TEMPO, the Berkeley Festival of Matthew Wright, and Ali Momeni Aveyard’s D’p. Pippa Murphy’s Post- Contemporary Performance, ran on computer-based musical instru- card from , Carya Amara’s Or- from 1–9 June 2001, at the Hertz ments designed and implemented thodox Sea, and Natasha Barrett’s Hall, University of California, Berke- specifically for that performance. Utility of Space. Late-evening ‘‘Re- ley, USA. The opening concert fea- Each made use of a different gestural flections’’ offered Hildegard tured saxophonist Steve Coleman interface: David Wessel’s, a Buchla Westerkamp’s Cricket Voice, Simon and the ensemble Five Elements per- Thunder; Matthew Wright’s, a Wa- Hall’s Dhyana, Nizam Wahid’s forming using Rameses, a computer com tablet; and Ali Momeni’s, a pair Asian Breath, and Adrian Moore’s system developed by Steve Coleman of joysticks controlling the real-time Ethereality. and colleagues over many years and sampling, processing, and replay of Saturday opened with ‘‘Meetings’’: now implemented using the MAX the voice. The Berkeley Contempo- music for tape, percussion, and elec- environment. After further develop- rary Chamber Players, under conduc- tronics by Javier Alvarez, and pre- ment at IRCAM in 1999, this was in tor David Milnes, continued the sented Overture, Asi el Acero for many respects a debut appearance in festival with a concert of works fea- steel pan, Shekere for shekere, the USA of the latest version of turing technology by young compos- Mambo a` la Braque, Offrandes for Rameses, which its creator still de- ers: Metallics, for trumpet and two steel pan players, and Temazcal scribes as a work in progress. The electronics, by Yan Maresz, Medita- for maracas. The percussion soloist second concert brought together five tions, for tape, by Ronald Bruce was Simon Limbrick, joined by composers and musicians who have Smith, Hysteria, for trombone and Florent Jodelet in Offrandes. The worked collaboratively in different electronics, by Cindy Cox, Flecte later concert ‘‘Interiors’’ was of line-ups for many years: Roscoe Lapis, for sampler keyboard, by Atli pieces for tape alone: Surface Ten- Mitchell, George Lewis, Thomas Ingo´ lfssohn, and Monedas de Hierro, sion by Jonty Harrison, Inner City by Buckner, George Marsh, and David for ensemble with electronics, by Iain Armstrong, Deinz by David Wessel, Director of the Center for Martin Matalon were performed Shepherd, [o] by Dugal McKinnon, New Music and Audio Technologies alongside purely instrumental works and Invisible Tattoos by Antti (CNMAT) at Berkeley. The computer by Philippe Leroux, Jorge Liderman, Saario. Sunday’s event ‘‘Distant Re- material for this concert was per- and Michael Jarrell. The TEMPO gions’’ featured the Birmingham formed live and derived entirely from Festival concluded with a two-part

16 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 concert featuring innovative guitar portion of acoustic tones’’; Hideki covery of artistic works’’ was held as technologies developed at CNMAT Kawahara and Haruhiro Katayose: part of the Agora Festival, 6–8 June by Matthew Wright and Ahm Lee. ‘‘Scat singing generation using a ver- 2001, at IRCAM in Paris, France. The first part of the concert was en- satile speech manipulation system’’; The colloquium was organized by tirely devoted to improvisations by and Uipil Chong and Changwon Lee: Stephen McAdams (IRCAM-CNRS, John Schott on solo guitar and elec- ‘‘Enhanced digital music glove.’’ France) and Roger Reynolds (Univer- tronics. The concert concluded with The session examining 3-D Spa- sity of California at San Diego, USA). a jazz performance by John tialization for Musical Applications The colloquium sought to move the was chaired by Gary Kendall and Abercrombie, George Marsh, Rich focus of attention on the form of ar- Fudoli, and Mel Graves. TEMPO has heard papers by Durand Begault: tistic works away from the abstract a World Wide Web site, www.tempo ‘‘Compositional spatial sound ma- and into a consideration of the con- festival.org, and more information nipulation: Historical overview and crete temporal dimensions in which about CNMAT can be found by vis- analyses’’; Gary Kendall, David the perception of time-based arts iting www.cnmat.berkeley.edu. Mann, Scott Rovvin, and Alan Kendall: ‘‘Musical considerations in such as music must exist. It aimed the design of 3-D-sound rendering to present the points of view of art- software’’; Annabel Cohen, Reina ists in the fields of music, film, and Musical Acoustics at the Lamothe, Robert MacIsaac, Richard dance alongside the work of re- Acoustical Society of America Fleming, and Michael Lamoureux: searchers from the cognitive sci- ‘‘Does proximity govern judgments ences, neuroscience, philosophy, The meeting of the Acoustical Soci- of auditory direction in the azi- computer science, and cognitive mu- ety of America in Chicago in June muthal plane?’’; Charles Thompson, sicology. 2001 included several sessions de- Max Dennis, Jing Tsui, and The colloquium was associated voted to musical acoustics and issues Miroslava Raspopvic: ‘‘Model-based with the world premiere of The An- in electroacoustic music. Two paper virtual room acoustics’’; Scott gel of Death, a concerto for piano, sessions on New Synthesis Tech- Colburn: ‘‘Directionless surround ensemble, and computer-processed niques were chaired by James mixing’’; and Ambrose Field, ‘‘There Beauchamp. Papers were given by are no rules? Perceptual challenges sounds, by Roger Reynolds. The pub- Lippold Haken, Kelly Fitz, and Paul posed by large-scale, three- lic performance was the subject of Christensen: ‘‘Real-time additive dimensional surround-sound sys- real-time experiments that sought to synthesis with envelope parameter tems.’’ The spatialization strand was understand how the public perceives streams: an alternative to sampling’’; augmented by a concert of 5.1 DVD dynamic form. Two artistic works, Roger Dannenberg: ‘‘Note-by-note and 8-channel ADAT music. Addi- one musical, one video, were also synthesis is not enough’’; Andrew tional material relating to this meet- the subject of open debates. The col- Horner and Lydia Ayers: ‘‘A hybrid ing can be found on the World Wide loquium program included presenta- additive-wavetable synthesis model Web: general information on the tions by Ge´rard Assayag (computer for the horn’’; Hans Kaper and Sever meeting can be found at the Acousti- scientist), Benoit Bardy (cognitive Tipei: ‘‘Implementation of loudness cal Society of America’s conference psychologist) and Susan Buirge (cho- in a digital instrument’’; Maureen site, http://asa.aip.org/chicago reographer), Alain Berthoz (neurosci- /information.html; a list of other Mellody, Mark Bartsch, Freda entist), Emmanuel Bigand (cognitive Herseth, George Shirley, and Gregory musical acoustics sessions at the psychologist), Antonio Damasio Wakefield: ‘‘Vowel representation meeting can be found at www.public (neurologist), Ralph Ellis (philoso- and synthesis of singer identity’’; Bill .coe.edu/˜jcotting/tcmu/chicagoMU pher), Franc¸ois Madurell (musicolo- Verplank, Max Mathews, and Rob .htm; abstracts of the individual pre- Shaw: ‘‘Scanned synthesis’’; Curtis sentations are listed at http://asa gist), Michael Snow (film maker and Roads: ‘‘Introduction to pulsar syn- .aip.org/asasearch.html. musician), Charles Tijus (cognitive thesis’’; Lippold Haken: ‘‘Hands on psychologist), and Lorraine demonstration of the continuum fin- ‘‘Form in Time’’ Colloquium Vaillancourt (conductor). More infor- gerboard’’; Perry Cook: ‘‘Physically mation can be found on the collo- informed stochastic modal sound at IRCAM quium’s World Wide Web site synthesis’’; Josef Jurek: ‘‘Analysis An international colloquium entitled www..fr/departements and resynthesis of the steady state ‘‘Form in Time: the perceptual dis- /creation/agora/jpo/colloque/.

News 17

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 New Electronic Music Festival Baptiste Barriere, David Nahon, and John Young, Andrew Hugill, Stephan in Denmark Margaret Watson offered a two-day Moore and Timothy Place, and workshop on Virtual Reality Art at Hillegonda Rietveld, and ‘‘Reapprais- the new multimedia center at the als and New Opportunities,’’ which A new festival, MIX.01, was the first University of Aarhus. The workshop were examined by Rosemary in a series of annual electronic music covered concept development, Mountain, Leigh Landy, Giselle festivals to be presented by the Dan- graphic design, sound, and music in Martins dos Santos Ferreira, and ish Institute of Electroacoustic Mu- virtual reality art. MIX.01 ended James Harley. ‘‘Visions,’’ and the sic (DIEM). MIX.01 was held 12–14 with an outdoor electronic music music of the lunchtime concert, June 2001 in and around the Concert marathon in the woods near Aarhus. were by composers Dennis Miller, Hall in Aarhus, Denmark, where Stelios Giannoulakis, Bob Sturm, DIEM is situated. The festival pre- Fred Szymanski, and Stephan Moore sented a diverse mix of electronic Conference: ‘‘Music Without and Timothy Place. Simon and electroacoustic music in con- Emmerson, John Richards, and certs, installations, late-night club Walls? Music Without Dante Tanzi gave papers in the events, and multi-media perfor- Instruments?’’ ‘‘Electroacoustic Music’’ strand and mances, interleaved with lectures, Nick Collins, Ulrich Einbrodt, demonstrations, and workshops. This international conference was Lisiunia Romanienko, and Robb Concerts formed the heart of the fes- held at De Montford University, Wright spoke under the heading of tival and the opening night featured Leicester, UK, 21–23 June 2001. ‘‘Musicology and Popular/Film Mu- guest artist Joan La Barbara. MIX.01 Hosted by the Music, Technology, sic.’’ After further vision papers, the also hosted a performance of the and Innovation Research Group, the evening was devoted to the music of highly acclaimed interactive ballet three-day event was coordinated by John Drever, Rob Weale, Robert In Between with choreography by Leigh Landy and Andrew Hugill and Mackay, Nick Fells, and Joseph Michelle Noiret, interactive music brought together artists and scholars Hyde. by Todor Todoroff and computer- from around the world. Papers were Saturday’s papers concentrated on animated set design by Paolo Atzori. grouped into themes but were all themes of ‘‘Computing’’ with Kia Installations on show during the fes- predominately interested in future Ng, Michael Casey, Richard Dobson, tival were Liquid Meditation by trends rather than simply sharing Martin Spain, and Richard Margaret Watson, e´-c-h-e-l-l-e by current research outcomes. On the Polfreman, before exploring issues in Bjørn Askefoss, The Composer’s Thursday, the session devoted to analysis, form, teaching, composition Brain by Ad van Buuren, Art Impact ‘‘Electroacoustic Music and Sounds and sound diffusion with Archer by Maurice Benayoun and Jean- from our Environment’’ heard papers Endrich, Leon Couch, Alex McLean, Baptiste Barriere, aN eMPTY sPACE from John Drever, Mladen Milicevic, Adrian Moore, and Darren Copeland. by Jakob Højmark, and Room 4 of John Young, John Dack, and Steve The final concert was curated by Sonic Lines ’n Rooms by Sabine Everett. The session ‘‘Computing Barry Truax, visiting professor at De Scha¨fer and Joachim Krebs. and Other Sciences’’ was addressed Montford University, who presented Lectures formed a major part of by Scott Smallwood, Palle Dahlstedt, his own Pendlerdrøm and Island the festival, with Wayne Siegel pre- Marc Aird and Joel Laird, John ffitch alongside music by Hildegard senting work on digital dance, and Julian Padget, Christian Spevak Westerkamp, Peter Manning, and Ludger Bru¨ mmer on musical organ- and Richard Polfreman, and Bob Damian Keller. Installations at the isms, Denis Smalley on acousmatic Sturm. A particular feature of the conference included works by Palle composition, Conrad Boehmer on conference was that each concert Dahlstedt, Robert Godman, Stephan the early years of electronic music, was preceded by a set of ‘‘Vision Pa- Moore and Timothy Place, and Arie van Schutterhoef on the Strati- pers’’ presented by the composers. Randall Packer and John Young. It is fier, an interface for live sound diffu- The first of these presented the vi- expected that the conference will be sion, Todor Todoroff on interactive sions and music of Simon Hall, Paul the first of a series, and the closing sound composition, in reference to Fretwell, Derek Pierce, Pete Stollery, plenary raised themes which will be his ballet In Between, and Morton Paul Rudy, Scott Smallwood, and addressed in the near future. These Subotnick on generating sound and John Young. included human communication in graphics in his multimedia work Friday morning’s paper sessions music involving technology; the Gestures. Prior to the festival, Jean- covered ‘‘Internet,’’ addressed by place of electroacoustic/sonic art

18 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 ter was transferred from analogue to digital format at the Abbey Road Stu- dios, London, to enable the work to be performed again, by a new ensem- ble, under the direction of Peter Brit- ton, a founding member of Intermodulations. The Tim Souster concert was produced in association with the Sonic Arts Network, Al- meida Opera, and Hoxton New Music Days, and supported by The Perform- ing Rights Society Foundation, The Hinrichsen Foundation, and The Arts Council of England. Photographs and video documentation of the tape transfer and ensemble rehearsal are available from the Sonic Arts Net- work. For more information contact Phil Hallett by electronic mail ([email protected]).

work, and why much remains so whose work was a blend of popular marginal; and the potential for a and serious styles. World Music is a New Gallery for Sound greater involvement of community large-scale composition for alternat- and Intermedia Opens in groups and young people. The pro- ing sections of quadraphonic tape New York City ceedings of the conference have been and instrumental music, which grad- published on CD-ROM. The confer- ually converge. The piece is based on Diapason is a new gallery for sound ence World Wide Web site is the idea of three musical orbits of and intermedia art located on Sixth www.cta.dmu.ac.uk/mtirg/nowalls. the earth, as if in a satellite: its path Avenue at 39th Street in Manhattan, over the various countries, oceans, New York, USA. It features two ex- and islands suggesting or determin- hibition areas, both equipped with ing certain kinds of material and for- multi-channel sound systems and Tim Souster Retrospective mal proportions. The tape music is video projectors. The exhibition interlaced with live instrumentals room in the rear is sonically isolated On 1 July 2001, in London, UK, there that represent the indigenous cul- and carpeted, and has a twelve- was a rare opportunity to hear two tures below. channel sound system. The front works by Tim Souster, Zorna (played Commissioned by West German room is suitable for large-scale in- by John Harle) and World Music. The Radio, the tape part for World Music stallations and performances. Diapa- concert was preceded by a panel dis- was completed in 1974 and the work son was founded by Liz Gerring and cussion. As an authority on the received its first complete perfor- Michael Schumacher and continues avant-garde and a pioneering figure mance in December of that year, by the work of Studio Five Beekman, in his own right, Tim Souster (1943– the ensemble Intermodulations in which closed in August 2000 after 4 1994) was a significant figure in Brit- Bonn, Germany. A new scoring for years and 41 presentations. The fo- ish music during his lifetime. From eight players was completed in Janu- cus is on sonic and multimedia in- his arrangements for The Hitch- ary 1980 and it was this version stallations using electronics and hiker’s Guide to the Galaxy to his which was performed in 2001. Since computers and in its opening sum- work with Karlheinz Stockhausen the work’s last performance in 1981, mer season, the gallery presented a (whom he assisted between 1971 and all copies of the tape part had de- series of Saturday evening concerts 1973), he was one of the most versa- cayed beyond salvation, except one: presenting a mixed program of video tile composers of his generation, the original 1-inch master. This mas- and sound. Diapason has its own

News 19

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021 World Wide Web site, www sic in Greece was held in Lefkas, sic: methodology and tools; An intro- .diapasongallery.com, with more in- Greece, 2–7 July 2001. Each day had duction to computer-assisted formation. a specific focus and was presented by composition: algorithmic trends with tutors from Aristotle University, Openmusic; and An introduction to Introduction to Computer- Greece, the Ionian University, real-time processing of sound: inter- Assisted Composition: Seminar Greece, and IRCAM, France. Topics active trends with Max/MSP. The included: An introduction to elec- Human Network on Computer Mu- in Greece tronic score processing; New tenden- sic seminars are coordinated by A second seminar organized by the cies in electronic orchestration; An Anastasia Georgaki (electronic mail Human Network on Computer Mu- introduction to electroacoustic mu- [email protected]).

20 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/01489260152815251 by guest on 01 October 2021