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Winners of the Bourges 30Th International Competition Of News Winners of the Bourges were made of Elio Martisciello (Italy) Processes’’; Jacopo Baboni-Schilingi 30th International Competition for Presenti successivi and Adrian and Jean Michel Courtecuisse: ‘‘Mu- Moore (UK) for Sea of Singularity. In sical Introduction: Toward Composi- of Electroacoustic Music and the category for work for dance or tion with the Use of Data Processing Sonic Art 2003 theater a prize was awarded to Luigi Tools’’; Laurent Pottier: ‘‘STRAPS, A Ceccarelli (Italy) for Live (dance: Fran- Piece by Eryck Abecassis for Ensem- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 Winners of the Bourges 30th Interna- cesco Scavetta; video: Tone Myskja). ble with Live Electronics—Problems tional Competition of Electroacous- In the category for work for installa- of Analysis of Pieces with Electron- tic Music and Sonic Art 2003 have tion or environment, a Mention was ics’’; Hans Tutschku: ‘‘Vocal Control been announced. The jury for the made of Christophe Ruetsch (France), of Electronics in Real Time’’; Thierry competition was made up of Franc¸o- Fre´de´ric Blin (France), and Pierre Coduys and Cyrille Henry: ‘‘New ise Barrie`re (France), Erik Mikae¨l Jodlowski (France) for Mendel (inter- Materials for High Precision Sam- Karlsson (Sweden), John Christopher active sonic installation). In the cate- pling’’; and by Moreno Andreatta and Nelson (USA), Jean Michel Ponty gory for work for multimedia a prize Carlos Agon: ‘‘Algebraic Formaliza- (France), Pascale Pronnier (France), was awarded to Kotoka Suzuki (Ja- tion of Musical Structures Using Set Jorge Rapp (Argentina), Michel Re- pan) for Umidi Soni Colores (video: Theory: Theoretical and Analytical dolfi (France), Anne Roquiny Claudia Rohrmoser). A Mention was Aspects.’’ (France), and Ulrich Suesse (Ger- made of Bret Battey (USA) for Writ- The Wednesday evening perfor- many). Residencies went to Kari Be- ing on the surface (for video and mance organized by ENM in collabo- sharse (USA) for Small Things, music). ration with the Centre International Konstantinos Karathanasis (Greece) de Cre´ation Vide´o Pierre Schaeffer for De Ligno Chalybeque, Mehmet (CICV) with performance on the Can O¨ zer (Turkey) for Works 2001/4, Scenum Mobile, a portable technical Hanns Holger Rutz (Germany) for Journe´es d’Informatique platform for the capture and mixing 5th Residual, Matthias Strassmueller Musicale 2003 of images, featured the Percussion (Germany) for Fusions, and Alexan- Ensemble of ENM and live electron- der Volodin (Russia) for The Music of Journe´es d’Informatique Musicale ics, with works of Hans Tutschku, my memory. The Magisterium prize (Musical Computation Days) were Miloslav Kabelac, Iannis Xenakis, was not awarded this year. held 4–6 June 2003 at l’Ecole Nation- and Ge´rard Grisey. In the category for electroacoustic ale de Musique (ENM) du Pays de Presentations on Thursday, 5 June, music in the studio without instru- Montbe´liard (National Music School included Marc Chemillier: ‘‘For a ments, prizes were awarded to Mario of the Region of Montbe´liard ), in Multimedia Notation in Ethnomusi- Mary (Argentina) for Signes e´mer- collaboration with the Association cology’’; Michael Laurson and Mika gents and Ambrose Field (UK) for Franc¸aise d’Informatique Musicale Kuuskankare: ‘‘From RTM-Notation One hell of a place to lose a cow. (French Association of Musical Com- to ENP-Score-Notation—Composi- Mention was made of Apostolos Lou- putation). tional Environment PWGL’’; Myriam fopoulos (Greece) for Erevos. In the Presentations on Wednesday, Desainte-Catherine and Gyo¨ rgy Kur- category for electroacoustic music in 4 June, included Benoıˆt Courribet: ta´g: ‘‘Specification of Sound Synthe- the studio with instruments, prizes ‘‘Tools for a Transformational Ap- sis Applications to Musical were awarded to Gerald Eckert (Ger- proach to the Interpretation of Elec- Pedagogy—Pedagogical Sound Syn- many) for Offen-fin des terres (for en- tronic Music’’ [most paper titles have thesis Tools for Beginning Music’’; semble and live electronic) and been translated from French]; Anne Thierry Coduys, Adrien Lefe`vre, and Laurent Soulie (France) for Ecorce de Sedes, Benoıˆt Courribet, and Jean- Gerard Pape: ‘‘IanniX—Descended lune (for ensemble and live elec- Baptiste Thiebaut: ‘‘Visualization of from UPIC, IanniX Proposes Paths to tronic). Mentions were made of Mi- Sound with the EGOSOUND Soft- Innovation’’; John Dack: ‘‘Ear Train- guel Azguime (Portugal) for Derrie`re ware’’; Emmanuel Jourdan, Andrew ing to Use the Computer and the son double (for ensemble and live Gerszo, Roland Cahen, and Rodolphe Progmenu’’; Bertand Merlier: ‘‘The electronic) and Emanuele Casale Saugier: ‘‘Interactive Musical Appli- Hand, the Instrumental Gesture, and (Italy) for 5 (for flute, clarinet, and cations for Music Instruction in Na- the Creative Thought—GD3, Three- tape). In the category for sonic elec- tional Education’’; Carlos Caires: dimensional Gestural Controller’’; troacoustic art works, Mentions ‘‘Toward a Notation for Microediting Charlotte Truchet, Ge´rard Assayag, News 7 and Philippe Cordognet: ‘‘OM- • A workshop on the ‘‘dolabip’’ tional approach. The National Clouds, Small Clouds of Constraint project with artistic direction by Music School of the Region of in OpenMusic’’; Fabrice Guedy: Gyo¨ rgy Kurta´g and scientific di- Montbe´liard has formed a part- ‘‘Teaching Experiences in the Line of rection by Myriam Desainte- nership with the Tempo Reale the Feuillantines Workshop’’; Denis Catherine. The objective of this Center for the development of Lorrain: ‘‘Realization of Musical project is the development of a these tools. Games in the 18th Century: Mozart pedagogical tool for introductory • A workshop on GENESIS: Physi- Downloaded from http://direct.mit.edu/comj/article-pdf/27/4/7/1854885/014892603322730460.pdf by guest on 01 October 2021 and Stadler’’; and by Alain Bonardi: music in public schools. Com- cal Modeling in Musical Compo- ‘‘Lyrical Gesture versus Interactive mercial music composition soft- sition, directed by Claude Cadoz. Gesture, Example of the Interactive ware is ill-suited to group use in The particularity of GENESIS Opera Alma Sola—Bringing Together the classroom. In order to sup- software is the creation of of Lyric and Digital Art.’’ port the development of listen- sounds by physical simulation of The Thursday evening concert fea- ing strategies in the child, we objects such as strings, mem- tured the Interactive Music Ensem- propose to design a pallet of ped- branes, hammers, etc. These ob- ble of the National Music School of agogical tools for sound explora- jects interact, and one can thus the Montbe´liard Region, with works tion equipped with devices obtain very natural sounds, for by Hans Tutschku (Germany), Jacopo adapted to the motor skills of example by simulating the strik- Baboni-Schilingi (Italy), Patricia Ales- children. These tools are as fol- ing of a guitar string, of a gong, sandrini (USA), Leyre Aguirre lows: A real-time sound synthe- of a bell. But the parameters can (Spain), Guilherme Carvahlo (Brazil), sizer and programmable vary ad infinitum and the com- Lorenzo Bianchi (Italy), Joel Patin composition hardware devices poser can experiment at leisure: (France), Anne Nardin (France), and allowing real-time control of the to give to its objects the mass of Ketty Nez (USA). sounds produced by the com- an atom or a planet if it is de- Presentations on Friday, 6 June, in- puter, synthesis software con- sired. It can model all the instru- cluded Karim Barkati and Emmanuel trolled in real time by the ments of an orchestra and Saint-James: ‘‘SVG & XSLT: a Note- devices, a meta-instrument al- program the envelope of the worthy Staff (Representation of a lowing the simulator to config- sounds. Physical modeling using Musical Score on the Screen of a ure play in order to obtain this principle applies equally to Browser)’’; Sinan Bokesoy and Gerard various instruments. An instru- the modeling of ‘‘macro- Pape: ‘‘Presentation of Stochos—A mentarium developed by means instruments’’ producing the phe- Real-time Event Generator: Stochas- of the synthesizer precedent, nomena of sound structures and tic, Chaotic, and Deterministic’’; supporting various listening of complex temporal evolutions Paulo C. Chagas: ‘‘Distinction be- strategies in the child, accom- corresponding to the scale of the tween Medium and Form: a New Ap- proach to Musical Semiotics’’; pany pedagogical programs of ex- musical composition. The pre- Nicolas Scaringela, Yann Orlarey, perimentation (instrumental sentation will comprise an expla- Dominique Fober, and Ste´phane research, mode of play), composi- nation of the bases of the Letz: ‘‘Automatic Vectorization in tion and improvisation, by system, sound examples of the Faust’’; Olivier Lartillot: ‘‘Perception means of these instruments and principal categories of instru- Based Musical Pattern Discovery’’; adapt with different school mental systems and some exam- Benoıˆt Meudic: ‘‘Automatic Extrac- cycles. ples corresponding to its use for • tion of Patterns from Polyphonic A workshop on the Introduction musical creation. • MIDI sequences’’; Antonio de Sousa to Composition for Children, An instrumental workshop on Dias: ‘‘Transcription of Music V to with artistic direction by Jacopo The Relationship of Instrument Csound Files through OpenMusic’’; Baboni-Shilingi assisted by Jean and Computer, directed by Hans and by Francis Rousseux and Alain Michel Courtecuisse. Initiated Tutschku. The National
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