HXOZ: Concerts 25-26-27-28-29 June 2019
The main venue for the Concerts is the Municipal Theatre of Corfu >>>>
The concert of "asabe" will take place at POLYTECHNO >>>
PROGRAM NOTES AND BIOS
The program analytically:
Tuesday 25 June 2019
POLYTECHNO (map) >>>
21.30 CONCERT "asabe" dir.Theodore Lotis
asabe
[Μενέλαος Αλεξίου, Θεόδωρος Γρηγορακάκης, Θεόδωρος Λώτης, Αγαμέμνων Μαζιώτης, Χάρης Πανδής, Κωνσταντίνος Παντελιός, Δημήτριος Σάββα, Ισμήνη Μαρία Ξάνθου]
Το σύνολο asabe (all sounds are born equal) αποτελεί ένα πειραματικό φυτώριο ανάμεσα στα σύνολα του Τμήματος Μουσικών Σπουδών στο Ιόνιο Πανεπιστήμιο. Πειραματίζεται μεταξύ δομημένων και διαισθητικών αυτοσχεδιασμών και εργάζεται για την κατάκτηση της ισότητας όλων των ήχων. Μεταξύ των εμφανίσεών του περιλαμβάνονται μυστικές και δημόσιες συναυλίες στο λεωφορείο της γραμμής 2 στην Κέρκυρα, στο Πολύτεχνο (Κέρκυρα), στο θέατρο Alte Schmiede της Βιέννης, σε ένα εγκαταλελειμμένο εργοστάσιο κονσερβοποιίας στις Πρέσπες, στο Booze στην Αθήνα και στη Μονή Λαζαριστών της Θεσσαλονίκης.
asabe
[Menelaos Alexiou, Theodoros Grigorakakis, Theodoros Lotis, Agamemnon Maziotis, Haris Pandis, Konstantinos Pantelios, Demetrios Savva, Ismini Maria Xanthou]
The asabe ensemble (all sounds are born equal) is an experimental music group of the Ionian University's Music Department. They improvise frequently and work towards the equality of all sounds. Their performances include secret and public concerts on a public bus in Corfu, the Polytehno Arts Centre (Corfu), the Alte Schmiede in Vienna, an abandoned canning factory in lake Prespes, The Booze in Athens and the Moni Lazariston in Thessaloniki.
Wednesday 26 June 2019
Municipal Theatre of Corfu (map) >>>
20.00 Michael Edwards jitterbug
jitterbug (aka four views of a rhythmic-structural procedure based on iterated proportions of 6:3:5:4) is, in performance, a four-movement four-channel work for computer, with or without improvising musicians. It is also available without improvised contributions as a stereo album. It was created with my slippery chicken algorithmic composition software and premiered at Museum Siam, Bangkok, on November 29th 2015 as part of the As((ear))n exhibition of curated sounds from throughout South-East Asia.
The four movements---each taking one of the proportions 6:3:5:4, in that order---have a total duration of 40:30. Movements 1 & 2 and 3 & 4 overlap, making for two equal halves separated by silence. The titles of the movements are:
1(6): stuffed animals and licorice (13:30)
2(3): my father's hazards (6:45)
3(5): zero to ten (11:15)
4(4): shiny metal mixing bowl (9:00)
The title jitterbug comes from the name of the main rhythmic generative algorithm used in the piece. The movement titles come from Matt Sumell's 2015 novel Making Nice. I was reading this at the time my father was dying of cancer in the first half of 2015. In the novel, the protagonist's mother is dying of cancer. When taken out of context the titles themselves are particularly strong and colourful, though not particularly clear. In the context of the larger text, they take on different but generally very clear meanings, some rather prosaic, like various aspects of the process of dying:
Many different sounds were used in the mix. Some were longer sound files, treated acousmatically, such as rain in Montreal, interviews I recorded with my father before he died, or the evening call to prayer in Yogyakarta, Indonesia; some were vocal statements or sung animal-like sounds; others were many and various short sounds, used as samples and driven by different outputs of the jitterbug algorithm: prepared and normal piano samples, and many gong and bell samples made from my own instruments sourced in Bangkok. The animal sounds were cut, edited, and polished from recordings sourced online at the Macaulay Library of Cornell University. I used recordings of Jaguar sex by Gustav Peters; elephant seals by Thomas Sander; and red deer by Bob McGuire. © Michael Edwards 1997-2019
Michael Edwards: I'm a composer, improvisor, software developer, and since 2017 Professor of Electronic Composition at ICEM, Folkwang University of the Arts, Essen, Germany.
I'm the programmer of the /slippery chicken/ algorithmic composition package. My compositional interests lie mainly in the development of structures for hybrid electro-instrumental pieces through the integration of algorithmically produced scored materials with similarly generated computer-processed sound. I also improvise on laptop, saxophones, and MIDI wind controller, performing for instance at the 2008 Montreaux Jazz Festival.
My compositions have been played worldwide at many international festivals, including the Darmstadt Ferienkurse, the International Computer Music Conference (Banff, Havana, Ljubljana), the Zagreb Biennale, the Seoul International Computer Music Festival, etc., and by leading ensembles/performers such as Klangforum Wien, Ensemble Aventure, Ensemble Intercontemporain, IRCAM, Experimentalstudio Freiburg, Marcus Weiss, Sarah Nicolls, Rei Nakamura, and Garth Knox.
I studied composition at Bristol University with Adrian Beaumont (BA, MMus) and privately with Gwyn Pritchard. In 1991 I moved to the US for further studies in computer music with John Chowning at CCRMA, Stanford University (MA, Doctor of Musical Arts). Whilst studying there I also worked at IRCAM, Paris, with a residence grant at Cité des Arts.
During 1996-7 I was a consultant software engineer in Silicon Valley. I developed a Document Recognition System used in several US hospitals. In 1997 I was appointed Lecturer in Music Theory at Stanford but later that year moved to Salzburg, Austria. I was Guest Professor at the Universität Mozarteum until I left to teach at the University of Edinburgh in 2002.
For further information, including artist statements and a complete work list, links to MP3s, CDs, score PDFs etc. see www.michael-edwards.org.
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21.00 TEMPO REALE
TUSCANY SOUNDTHINKS
Francesco Giomi, sound projection
Fabio Monni, Sospeso su una città di pietra II/a (2018)
(Tempo Reale commission)
Sospeso su una città di pietra (Suspended over a city made of stone) is based on a recording (1’ 01'') taken at the top of Palazzo Vecchio’s tower in Florence. It is an expansion of the original minute into four pieces into a four pieces cycle. For each one a different set of rules was applied. The resulting ten minutes piece has the following structure: Astratto II / Concreto II / Poetico II / Matrix II / Beginning of the original recording.
Fabio Monni. Before finishing his education at the Lund University (Sweden) he studied Piano, Organ and Composition at the Conservatory of Music in Cagliari (Italy). He has been working with soundscape and the possible implementations of its randomness into a structured form for several years. The piece presented tonight is part of this process.
Lelio Camilleri, Summer 2018 (2018)
(Tempo Reale commission)
Summer 2018 is made up of sounds I recorded and transformed during the summer. The structure of the piece resembles an imaginary sound walk, shifting from sections composed by remote sounds to sections with real sounds. It is a structure based on the metaphor of dream (that I often use in other pieces) where a succession of real and imaginary sound sequences occur one after another.
This piece is dedicated to my niece Chiara, because I used some sounds of a place she loves.
Summer 2018 has been realized at Tempo Reale, Florence. Thanks to Francesco Casciaro and Leonardo Rubboli for their assistance.
Lelio Camilleri (Rome 1957). He is a professor of electroacoustic music composition at the Conservatory of Music in Bologna. His compositional output is mainly electroacoustic, including multimedia works. His works have been performed worldwide and received national and international commission and awards. His research work concerns with the analysis of electroacoustic music, sonic communication, audio-vision and popular music. On these subjects he has published articles in national and international academic journals. He has written two books: Il Peso del Suono (2005/2014) and Gelatine Sonore, a listening guide to Larks’ Tongues in Aspic by King Crimson (2018). His book about Abbey Road by Beatles is forthcoming.
Francesco Giomi, Alla carta (2011)
Alla carta is an Italian kitchen-based soundscape composition. Its contents start both from some sounds of “cooking” taken from an important restaurant near Florence and from the sonic appeal of the reading of its real menù. The piece is therefore a small portrait of Tuscany from the side of one of its main and most famous activity. Some sounds of the kitchen have been processed while some others (sonic signals, background, etc) have been included neutrally. The formal structure is outlined by means of the reading of the real menù by Loredana Terminio. Such phrases contribute to divide the piece in several timbral parts, which could be seen as different points of view of the same environment.
Francesco Giomi (Florence, 1963). Composer and sound projectionist, he has collaborated with Luciano Berio and other relevant composers, musicians, choreographers and directors besides orchestras and ensembles from Italy and abroad. He has lead the live electronics staff of Tempo Reale in theatres and festivals all over the world. He has been composing about computer music for many years; since 2001 he collaborates with choreographer Virgilio Sieni; in 2003 and 2009 he obtained commissions for new musical works from GRM of Paris, while in 2007 he won the International Rostrum of Electroacoustic Music held in Lisbon. He is professor of Electroacoustic Music Composition and Live Electronics at the Conservatory of Music in Bologna.
Simone Faraci, Un giardino improvviso (2019)
(Tempo Reale commission)
Un giardino improvviso is a psychological soundscape from whose center, a voice is speaking. From an external soundscape measured by the rhythm of steps, the listener is guided through an inner journey, with the sound of voice serving as a guide. As we descend deeper and deeper, the language is disarticulated, new meanings are formed, and new emotional nuances of the human voice are discovered. The use of the voice gets more and more primitive as we are reaching to the heart of human voice: singing. Singing rejoins the human being with his animal core, and it reconnects him to the complex rhythm of nature.
Simone Faraci. He is a Sicilian musician and composer living in Bologna. After studying and working in the classical music field, from 2015 he devoted himself exclusively to research in the field of electronic music and improvisation, studying Electronic Music at the Conservatory of Bologna. His work so far has been oriented towards improvisation, music for contemporary dance, acousmatic music, soundscape and didactics. As an improviser he performed with Francesco Giomi and Alvin Curran. He is currently developing his research on electroacoustic improvisation with Minus, a collective based in Bologna whose he is a founding member. From March 2019 he works as coordinator of Tempo Reale educational activities.
Thursday 27 June 2019
Municipal Theatre of Corfu (map) >>>
21.00 GMVL (Groupe Musiques Vivantes de Lyon)
Bernard Fort Paysage les yeux fermés 18 '
Cette composition, d’une durée de 18 minutes, a été réalisée à la demande de la Maison de l’Environnement du Territoire de Belfort, afin d’offrir au nombreux public du festival des “Eurockéennes” une expérience d’écoute des sons de la nature.
Le projet consistait à proposer à un public habitué aux grands déferlements sonores une écoute de sons naturels, à volume réduit, dans un espace intimiste et dans l’obscurité, en l’absence de tout visuel.
Au cœur de la Maison de l’Environnement, se trouve, en sous-sol, un petit espace de projection doté d’une sonorisation 6 pistes, et d’une capacité d’accueil d’environ 60 personnes. Paysage les Yeux Fermés a donc été pensée pour cet espace et la première a eu lieu lors du festival 2003 pour rester à l’affiche plus de 6 mois d’affilée avec plusieurs représentations par jour.
Par la suite, une version stéréophonique (d’une durée de 18 minutes) a été réalisée pour France Culture en 2009 (Atelier de Création radiophonique).
Enfin, dans le cadre du projet européen Erasmus + conduit par le Groupe Musiques Vivantes de Lyon, ont été réalisées des versions en Anglais, Italien, Portugais et Grec.
Péroline Barbet Carnavas (excerpt 12')
Carnavas is a piece witch is between documentary and sound création.
It is a immersion in the world of Carnaval and popular traditions of south France.
The documentary focus on the individual métamporphosis, the fact of waring a mask and being someonelse for a day.
It is happening in the south of france, in tree differents places.
It is in French and there is a lot of spoken words.
Anthony Clerc En mer (1 ,2, 3) 6'30
"En mer" is an electroacoustic composition that revolves around the sea, the aquatic environment and the human activities that lead to an interaction between these two worlds.
It goes along with two other versions that are the outcomes of previous versions: « En mer 01 » and « En mer 02 ». These pieces are at various stages of the writing process.
The basic idea is to take the listener on a journey across multiple realms related to different bodies of water and to lead him or her to form a series of mental images linked to the harbour, to boats, storms, diving, drowning, shipwreck, deserted islands and abandoned beaches. The piece is rather short, which should encourage the listener to pay further attention to details and to go back to previous versions.
The aim is to allow the listener to discover how an electroacoustic composition takes shape and to understand how sound placement and mixing come into play and allow a musical universe to emerge.
« En mer 01 » is the first edited version. The sound objects have been placed, some of them have been processed but none of the effects vary over time.
« En mer 02 » is the pre-mixing version. All of the sounds have been placed, the effects and levels have been adjusted throughout the piece.
« En mer » is the final version. In order to arrive to this result, I no longer manipulate the sounds one by one but alter the composition as a whole. « En mer 02 »
Carole de Haut Darwiche Ligne and Ligne 2 (deux pièces 5' and 5')
LINE and LINE 2 are built from 3 very different recordings:
Recording in a room with the microphone near the sound body
Outdoor recordings with microphones far away from the elements in perpetual motion. The different spaces in which the sounds were recorded influenced the composition of the piece.
I used filtering, in first removing part of the material to the chosen sound body (ex: the helicopter), then Iselected effects to « bring into focus » a part of the sound body (ex: loom).
There’ s the idea of continuity of a line (especially in LINE 2) which thickens, mixes with other lines,disappears, returns, hides and enter into differents spaces until the extinction of a point.(ex: the lignarity of a loom sound that mixes with the movement of the hubbub of the port (voices spoken, sung,exclamations ... engines)
The lines of the different machines (helicopter, loom, horn, ...) mingle and unravel, pass in front of or
behind, become a fixed or moving. All the lines would agree to constitute only one which would be the
result of the games of sound circulations of the sound objects.
Marc Favre Allèles 10'
Having listened several times to sounds proposed to me by my southern European colleagues working on the major soundscape project which has involved the GMVL and the studios of Florence, Cagliari, Corfu, and Lisbon over the last two years, I noticed some recurrent themes, one of which inspired me to compose this piece: sounds of the aeronautical type and more generally sounds of passing industrial vehicles. I worked a lot on the sounds of trains, but here I've focussed on the airplane. Within a series of pieces entitled Homozygote (a reference to a composer who has greatly influenced me: Luc Ferrari and his piece Hétérozygote), I latched onto the idea of an entity which contains 2 identical alleles of the same gene.
Poetic licence led me to extend the sound reservoir to more than 2 not completely identical alleles which are however as like as two peas. But I hear you: what is an allele? It is a slightly diverging form of a gene containing all the same variations of its sequence. But there can be several tens of alleles in certain genes and this is what interested me.
I'd like to thank Filipe Reis for his recording which I accessed abundantly, in particular for the sounds of children used in the middle part of my piece, as well as the airplane sounds.
Last of all, I climbed to high altitudes where plane turns into bird.
Julien Lagier 24 postes 6'06
A) The composition "24Posts":
1) The main idea is to propose a sound installation. With sound sources possibly coming from different media.
Concerning the creation part: From different independent recordings, it is a question of superimposing raw tracks by using only the silences to compose. Purify, empty, to create a harmony between the tracks. A basic composition is proposed, with a management of silences, more or less to the ladle. This is to avoid precision and rather to create a flat playing sometimes with the fade in or out.
Each track is then broadcast on YouTube independently. In order to be played more or less at the same time via different media with Internet. For example mobile phone, computer station, etc ....
Be careful, some tracks have many silences, so it's normal when playing a track on YouTube that there are not necessarily sounds that appear in the moment. The tracks last six minutes, for some there are only a few seconds of sounds scattered in different parts of this track.
Example of presentation:
In the case of a class of students having access to a computer room, each student can seize a computer station and a track (among the 24 tracks proposed component "24 positions") and each student starts at the same time. time, more or less, launching separate tracks. Each student can then move into the space of the computer room, where according to his point of view, he can listen to the composition. In the manner of a sound installation.
The group of students can also manage the sound space by influencing the volume and location of each track. To create a sound harmony in the solicited space.
It is therefore possible to imagine a volume management by the students, a placement possibly different from the sound source, which will require organization and rehearsals.
2) The second possibility of play:
The composition 24 positions can also be played in another way. These tracks can also be played in a totally random way, so the result is something improvised. Different each time. And we can also imagine that students can grab a part of the track being played on YouTube to repeat an excerpt for example .... In this case, it is also possible to imagine the presence of a conductor.
Friday 28 June 2019
Municipal Theatre of Corfu (map) >>>
20.00 AFEA / FESTIVAL DME (Dias de Música Electroacústica)
Jaime Reis Fluxus, pas trop haut dans le ciel (2017)
Commissioned within the frame of the project “The Soundscape we live in”, an European Project organized in collaboration with GMVL, Tempo Reale, Amici della musica de Cagliari, AFEA and Ionian University.
The main electronic realization was made in a residency at the Studios of Musiques & Recherches (Belgium, Brussels, Ohain).
Selected as finalist work for the 10th biennal acousmatic composition competition Métamorphoses (Belgium). This piece belongs to the cycle Fluxus, whose pieces are inspired by elements of physics and in which musical elements that relate to certain physical phenomena related to fluid mechanics are developed. Other pieces of this cycle are Fluxus, Dimensionless sound for flute and electronics (commissioned by Festival for the Liberation of Sound and Image, Paris, 2012), Fluxus, Transitional Flow (commissioned by Festival Primavera, Portugal, 2013), Fluxus, Lift (premiered at the Festival Monaco Électroacoustique 2013), among other compositions in progress.
This particular piece is centered in ideas related to what I have called "aerial" soundscapes. The formal development is based on 3 pillars that were inspired Bernie Krause's concepts geophony, biophony, and anthropophony (géophonie, biophonie, anthropophonie). The sections are interconnected through specific spacial movements that show our hide their own paths, recognition of sound sources and other events in order to create moments that are more or less clear in the perception of themselves.
The sound spacialization acts as a central musical parameter, where the distribution of sound within the loudspeakers is related not only to different kinds of movements and spacial "shapes", but related and associated to spectral changes, different speeds and other parameters that make the spacial movements (paths) to be more, less and even unrecognizable. Some spacial "shapes" or "paths" relate different parameters in order to create movements that I have called "elliptical rotations", "spirals", "rotations", "spectral explosions" related to upwards or downward movements of sound or into "sound suctions", "walls of sound", "points", "geometrical shapes", "lissajous curves", "sound swarms", and others. Such "shapes" / "paths" aren't intended to be listened as a catalogue os movements, but they are relate formal aspects of the macro structure, but also from the "energy flow" that is present in each of the used sound worlds.
Jaime Reis (b. 1983) is a Portuguese composer based in Lisbon who attended seminars with Karlheinz Stockhausen and worked with Emmanuel Nunes (also PhD co-adviser), after studying Composition and Electronic Music in Aveiro University (with 3 prize scholarships as best student of the uni.). He's the artistic director of Festival DME (counting more than 50 editions). His music has been presented over more than 20 countries, both instrumental and electroacoustic. He has worked with institutions/ensembles such as: IRCAM, KCMD, Musik Fabrik, ZKM, Musiques & Recherches. He's Professor in the Superior School of Applied Arts (Castelo Branco, Portugal). Director of Lisboa Incomum.
José Carlos Sousa Souks (2018)
Souks is an electroacoustic piece completed in September 2018 and resulting from a commission from the DME Festival (Days of Electroacoustic Music), within the frame of the project “The Soundscape we live in”, an European Project organized in collaboration with GMVL, Tempo Reale, Amici della musica de Cagliari, AFEA and Ionian University.
This is a work created from sounds that were recorded by different people in 4 different countries: Portugal, Greece, France and Italy.
Souks' starting point is based on the memories of a trip I made to Morocco and the fantastic world of sounds, smells and colours of the Marrakesh markets.
Although no sound has been recorded in Morocco, this is intended to be a sound journey to the world of markets from Marrakech, to the Souks.
José Carlos Almeida de Sousa was born in Viseu, Portugal, in 1972. He studied at the Conservatory of Viseu and at the University of Aveiro where he completed a Master's Degree and later a Masters in Composition and Electronic Music.
He was responsible for the organization of the International Classical Guitar Competition and Festival of Sernancelhe, alongside with Paula Sobral.
He holds the current post of the Artistic Director of the Spring International Music Festival of Viseu, which he organizes since 2008.
In 1995 he won the first prize of the 1st composition competition of the Viseu conservatory where he studied, with the children's piano work, “Almofada”. In the Competition of Electroacoustic Composition "Música Viva 2000", he was awarded with an Honourable Mention. In April of 2001 he was awarded with his work “Viagem” in the aforementioned competition, integrated in Porto 2001 European Capital of Culture.
His latest works come from the commissioning of several national and international institutions, and his music has been played in several national and international music festivals in Europe and America.
He is currently teaching composition at the Music Conservatory of Viseu, and also holds the position of Director of the Conservatory since 2004.
Pedro Rebelo Music by Strings (2019)
Music by strings is an immersive sound work in Ambisonics format which explores environmental sound and field recordings through the entities of strings. From string instruments placed in natural locations to accelerometer recordings of fences and wires vibrating with the wind, the piece challenges the lister to encounter musicality in both the everyday sound and the extraordinary. Like the extremes encountered in our soundscapes, the strings in the piece vary in their modes of vibration, resonating bodies and tension, occasionally reaching breaking point… The piece utilises recordings made in Northern Ireland, Mozambique and Portugal.
Music by Strings was composed at the Sonic Arts Research Centre, Queen’s University Belfast and was commissioned by Festival DME in the context of the European project “The Soundscape we live in” financed by the Erasmus+ programme.
Pedro Rebelo is a composer, sound artist and performer working primarily in chamber music, improvisation and installation with new technologies. In 2002, he was awarded a PhD by the University of Edinburgh where he conducted research in both music and architecture.
His music has been presented in venues such as the Melbourne Recital Hall, National Concert Hall Dublin, Queen Elizabeth Hall, Ars Electronica, Casa da Música, and in events such as Weimarer Frühjahrstage fur zeitgenössische Musik, Wien Modern Festival, Cynetart and Música Viva. His work as a pianist and improvisor has been released by Creative Source Recordings and he has collaborated with musicians such as Chris Brown, Mark Applebaum, Carlos Zingaro, Evan Parker and Pauline Oliveros.
His writings reflect his approach to design and creative practice in a wider understanding of contemporary culture and emerging technologies. Pedro has been Visiting Professor at Stanford University (2007) and has been Music Chair for international conferences such as ICMC 2008, SMC 2009, ISMIR 2012. At Queen’s University Belfast, he has held posts as Director of Education and Acting Head of School in the School of Music and Sonic Arts and is currently Director of Research for the School of Creative Arts, including the Sonic Arts Research Centre. In 2012 he was appointed Professor at Queen’s and awarded the Northern Bank’s “Building Tomorrow’s Belfast” prize.
On this site there are lists of projects/works and publications/writing which link to either more details or to actual materials. Some projects link to dedicated websites and some are fully documented here. The works section in include performance materials, scores, audio and video documentation as well as descriptions and sometimes programme notes and details of performances and public presentations. The writing section consists of references or links to papers published in academic journals such as Organized Sound, Contemporary Music Review, Performance Research, Leonardo or conferences such as NIME, ICMC, SMC, Mobile Music Workshop, ISEA amongst others.
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21.00 Lucio Garau 7 Fratelli
Lucio Garau: Synthesiser, Enrico Sesselego: Electric Guitar
Rinaldo Asuni: Double Bass Roberto Migoni: vibraphone
Riccardo Sarti: Sound Diffusion
7 Fratelli (7 Brothers)
Acousmatic and live instrumental concert
Duration 40-50’
Several recordings of the natural soundscape of the mountains of the seven brothers are the starting point for the score. We can hear four typical birds : luscinia megarhynchos/nightingale, lullula arborea/woodlark, fringilla coelebs/chaffinch, parus major/great tit
On stage 5 musicians, playing synthesizer, electric guitar, percussion and doublebass, the fifth diffuse sounds and images.
Lucio Garau: A composer in various genres, including vocal, instrumental, electroacoustic, live electronic, and acousmatic, Lucio Garau also performs keyboard and acousmatic music. Born 1959 in Cagliari, Italy, Lucio Garau graduated in1979 from the Cagliari Conservatory in piano and composition ( studyng with Franco Oppo).
As a scholar, his main research fields are ethnomusicology, aesthetics, and the history of music. He is also active as a conceiver, organizer and promoter of concerts, festivals, and multimedia events.
His works include traditionally scored, electronic, and acousmatic pieces, as well as dialectical combinations of these media. https://www.luciogarau.it
Saturday 28 June 2019
Municipal Theatre of Corfu (map) >>>
20.00 EPHMEE ( Electroacoustic Music Research Lab - Ionian University) 1.
Στέλιος Γιαννουλάκης Athens Noise Orchestra
To Athens Noise Orchestra είναι βασισμένο σε ηχογραφήσεις του κέντρου της Αθήνας (Πατησίων και Ομόνοια), που έκανα στα πλαίσια του προγράμματος “Το Ηχοτοποίο στο Οποίο Ζούμε”. Αποφεύγοντας να διαταράξω τη ροή των συμβάντων που είχαν καταγραφεί, εντόπισα μουσικά μοτίβα και χρησιμοποίησα διάφορες τεχνικές για να απομονώσω τονικά ή θορυβώδη μέρη του ηχητικού φάσματος. Έτσι οδηγήθηκα σε μια νέα ηχητική ροή, ένα μουσικό απόσταγμα από τον θόρυβο της πόλης.
Στέλιος Γιαννουλάκης. Συνθέτης, σχεδιαστής ήχου και μηχανικός. Σπουδές Ηλεκτρολόγου Μηχανικού (ΕΜΠ), Master of Arts στην Ψηφιακή Μουσική Τεχνολογία (Keele University), PhD στην Ηλεκτροακουστική Σύνθεση (University of Wales Bangor). Γράφει για χορό, θέατρο, κινηματογράφο, video, παιχνίδια και mobile εφαρμογές, παίζει και ηχογραφεί solo ή με διάφορα μουσικά σχήματα (ElektroBalkana, RSLG quartet, FallStreak.Hole, Burghal trio) και ασχολείται με την κατασκευή πειραματικών μουσικών οργάνων και τον αυτοσχεδιασμό. Έργα του έχουν διακριθεί σε διεθνείς διαγωνισμούς σύνθεσης και παίζονται σε διεθνή φεστιβάλ ανά τον κόσμο. Ιδρυτικό μέλος του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής.
Stelios Giannoulakis Athens Noise Orchestra
Athens Noise Orchestra is based on recordings of the center of Athens (Patision and Omonoia), which I made under the program "The Soundscape we live in". By avoiding disturbing the flow of recorded events, I identified musical motifs and used various techniques to isolate tonal or noisy parts of the sound spectrum. So I was led into a new sound stream, a musical distillate from the noise of the city.
Stelios Giannoulakis is composer, sound designer and engineer. Electrical Engineering (NTUA), Master of Arts in Digital Music Technology (Keele University), PhD in Electroacoustic Composition (University of Wales Bangor). He writes for dance, theater, cinema, video, games and mobile applications, plays and records solo or various musical formats (ElektroBalkana, RSLG quartet, FallStreak.Hole, Burghal trio) and works on the construction of experimental musical instruments and improvisation. His works have been distinguished in international composition competitions and are played at international festivals around the world. Founding member of the Hellenic Association of Electroacoustic Music Composers
Βασίλης Ρούπας Heaven
Τα βασικά στοιχεία του έργου Heaven είναι:
- Νερό: Η χώρα μου περιβάλλεται από θάλασσα. Είναι γεμάτη νησιά. Τελευταία, βρέχει πολύ και απότομα, σαν τροπική βροχή.
- Πουλιά: Ζω στα προάστια μιας μεγάλης πόλης. Ένας μικρός ποταμός, ένας χείμαρος, δημιουργεί ένα οικοσύστημα με πολλά είδη πουλιών.
- Παράδοση: Οι άνθρωποι στη χώρα μου δίνουν μεγάλη σημασία στην παράδοση γιατί δημιουργεί μια αίσθηση ταυτότητας και τους ενώνει. Αυτή η χώρα είναι ένα σταυροδρόμι όπου συναντιούνται κάθε λογής άνθρωποι. Ο καθένας φέρνει και τη μουσική του.
- Παράδεισος: Μερικοί πιστεύουν ότι θα βρούμε τον παράδεισο αν επιστρέψουμε σε μια απλή, πρωτόγονη ζωή. Όπως όμως συμβαίνει με την ανθρώπινη κατάσταση, ο παράδεισος θα βρίσκεται πάντα εκεί που δεν είμαστε εμείς.
- Τεχνικά στοιχεία:
Η επεξεργασία, το μοντάζ και η μίξη των ήχων έγιναν στο προσωπικό μου οικιακό εργαστήρι, με το πρόγραμμα Samplitude. Για πιο δραματικούς μετασχηματισμούς των ήχων χρησιμοποίησα τα προγράμματα Granulab και Cecilia 5. Χρησιμοποίησα ήχους θάλασσας, πουλιών και παραδοσιακών μουσικών, αλλοιωμένους με διάφορους τρόπους αλλά αναγνωρίσιμους. Για την βροχή χρησιμοποίησα λευκό θόρυβο. Χρησιμοποίησα επίσης μεταλλικούς ήχους στα σημεία που ήθελα να δημιουργήσω μια πιο ψυχρή, ζοφερή ατμόσφαιρα.
Βασίλης Ρούπας, , Συνθέτης, πιανίστας και αυτοσχεδιαστής, ιδρυτικό μέλος του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής και μέλος της Ελληνικής Εταιρείας Ακουστικής Οικολογίας. Συνθέτει κυρίως ακουσματική μουσική (ηχοτοπία). Ζει και εργάζεται στην Αθήνα.
Vassilis Roupas Heaven
The main elements of the piece Heavenare:
Water: My country is surrounded by sea. It is full of islands. Lately, it also rains a lot and abruptly, like a tropical rain.
Birds: I live at the outskirts of a big city. A small river, a stream, creates an ecosystem with many bird species.
Tradition: People in my country value tradition because it creates a sense of identity and unifies them. This country is a crossroad of all sorts of people, each bringing their music.
Heaven: Some believe that we can find heaven on earth if we return to a simple, primitive way of life. As it happens, and this is a characteristic of the human condition, heaven will always be where we are not.
Technical information: This piece was composed and edited in Samplitude. For more drastic sound transformations, I also used Granulab and Cecilia 5. I used recordings of sea,birds and traditional musicians all transformed in various ways, but recognizable. For the rain, I used white noise. I also used metalic sounds where I wanted to create a more bleak, gloomy atmosphere.
Vassilis Roupas, Composer, pianist and improviser, founding member of the Hellenic Electroacoustic Music Composers’ Association and member of the Hellenic Society for Acoustic Ecology. Composes mainly acousmatic works (soundscapes). He lives and works in Athens, Greece.
Φίλιππος Θεοχαρίδης σελ. 268, Ομόνοια (2018)
Το έργο αποτελεί μια μουμιοποιημένη εκδοχή (= εγγεγραμμένου μέσου) μιας ηχητικής εγκατάστασης, στον πυρήνα της οποίας βρίσκεται ένα λογισμικό που αντλεί τα μεταδεδομένα (tags) των ηχογραφήσεων της on-line βάσης δεδομένων που θα δημιουργηθεί για το πρόγραμμα “Το ηχοτοπίο στο οποίο ζούμε”. Ο χρήστης καθοδηγεί σε πραγματικό χρόνο τη σύνθεση ενός ηχοτοπίου, επιλέγοντας επιθυμητά χαρακτηριστικά μέσω αυτών των μεταδεδομένων. Το διαδραστικό σύστημα εξάγει - μέσω τεχνικών μηχανικής ακρόασης (machine listening) - ηχητικά χαρακτηριστικά αρχείων που αντιστοιχούν στα μεταδεδομένα αυτά και συνθέτει εικονικά ηχοτοπία, επανασυνδυάζοντας θραύσματα των ήχων αυτών. Στη συγκεκριμένη εκδοχή, “σελ. 268 - Ομόνοια” η επιλογή των ηχητικών αρχείων έχει γίνει με το χέρι, μιας και η βάση δεδομένων δεν είναι έτοιμη ακόμη· σκοπός είναι όμως να αποτελέσει μία μόνο από τις πολλές πιθανές εκδοχές του μουσικού / ηχητικού αποτελέσματος του παραπάνω λογισμικού συστήματος.
Φίλιππος Θεοχαρίδης: Σπούδασε Ηλεκτρονική Μουσική και Ηλεκτρονικά (BSc) (Keele, UK) και Τεχνολογία Μουσικής (MA) (Newcastle-Upon-Tyne, UK) και ολοκληρώνει τη διδακτορική του διατριβή στο Ιόνιο Πανεπιστήμιο. Έχει διδάξει Ηλεκτρονική Μουσική, Ηχοληψία και Διάδραση Ανθρώπου Μηχανής στη Μουσική στα Πανεπιστήμια Μακεδονίας και Ιόνιο καθώς και στο ΤΕΙ Ιονίων Νήσων. Ως μηχανικός ήχου στη δισκογραφία και τον ζωντανό ήχο, έχει επίσης διατελέσει τεχνικός υπεύθυνος σε πολυάριθμες συναυλίες ηλεκτροακουστικής μουσικής με πολυκαναλικά συστήματα ηχητικής προβολής. Το συνθετικό και αυτοσχεδιαστικό του έργο με πυρήνα τη διαδραστική ηλεκτρονική μουσική έχει παιχτεί σε διάφορα φεστιβάλ και συνέδρια συμπεριλαμβανομένων των Ημερών Ηλεκτροακουστικής Μουσικής του ΕΣΣΗΜ, Echopolis, Salford Sonic Fusion Festival, UK, Electric Nights, Across the Great Divide, Αυτοσχεδιασμοί ανθρώπου – μηχανής, Στέγη Γραμμάτων και Τεχνών, di.p.art, SMC. https://philippostheocharidis.wordpress.com
Philippos Theocharidis p. 268, Omonoia (2018)
The piece is a fixed media version of an interactive sound installation at the core of which is a piece of software that retrieves metadata (tags) from the recordings of the on-line database to be produced for the project “The soundscape we live in”. The user guides the real-time composition of a soundscape by choosing desired characteristics via these tags. The interactive system extracts sonic features (using machine listening techniques) from soundfiles corresponding to these tags and composes virtual soundscapes by recombining grains from these sounds. In the piece “p. 268 - Omonoia” the choice of the source soundfilies was done manually, as the database was not ready yet; The aim though is for it to only be one of the many versions of the musical / sonic outcome of the aforementioned system.
Philippos Theocharidis studied Electronic music and Electronics (BSc) at Keele University, and Music Technology (MA) at Newcastle-Upon-Tyne, UK, currently finishing his PhD at the Ionian University in Corfu, Greece. He has taught Electronic Music, Sound Recording, and Computer Interaction for Musical Applications at the Universities of Macedonia and the Ionian and the Technological Institute of the Ionian Islands. As a recording and live sound engineer he has been lead technician for numerous electroacoustic music concerts utilizing multi-speaker arrangements for sound diffusion. His compositional and improvisation work, mostly interactive electronic music, has been performed in various festivals including the Electroacoustic Music Days, Echopolis, Salford Sonic Fusion Festival, UK, Electric Nights, Across the Great Divide, Human – Machine Improvisation, Onassis Cultural Center, di.p.art, SMC. https://philippostheocharidis.wordpress.com
Νικόλας Βαλσαμάκης Le Jardin Secret (2019)
Ο Μυστικός Κήπος είναι ένα ηχοτοπίο μαγικού ρεαλισμού, μια ηχητική ετεροτοπία, ένας αναδιπλωμένος χωροχρόνος ενός κόσμου άλλου, καταφύγιο και ορμητήριο, κρυφό σημείο συνάντησης και τόπος υπερβατικής περιπλάνησης, πέρασμα πουλιών άλλων που μιλάνε γλώσσες άλλες, εκεί που καθετί ξένο παρουσιάζεται οικείο και κάθε τι γνωστό επανασυστήνεται ανανεωμένο. To ηχητικό υλικό βασίζεται σε μια σειρά ηχογραφημάτων από φωνές πουλιών από διαφορετικούς τόπους. Η σύνθεση βασίζεται αποκλειστικά στη συνδυαστική διασταύρωση και μορφοποίηση των επιμέρους ηχογραφημάτων, διαδικασία που επέτρεψε τη δημιουργία ενός μεγάλου αριθμού από υβριδικούς ήχους, ανταλλάσσοντας τονικά περιγράμματα, μικρο-ρυθμούς και χροιές. Πολλαπλά στρώματα παραλλαγών κάθε ήχου παράγουν ένα αμάλγαμα φωνών και χώρων, τόσο οικείων όσο και ιδιόμορφων, σε μία ροή συνεχών μεταμορφώσεων. Φωνές αντηχούν μέσα από άλλες φωνές, φωνές μέσα από χώρους, χώροι μέσα από φωνές, χώροι μέσα από χώρους. Έτσι, με κάποιο τρόπο, παρελθόν, παρόν και μέλλον αναδιπλώνονται, όπως αναδιπλώνονται μεταξύ τους οι χώροι και οι φωνές.
Nikolas Valsamakis Le Jardin Secret (2019)
fixed media, stereo, 24/96, duration: 14’00
The Secret Garden is a soundscape of magic realism, a sonic heterotopia, a folded space-time of an other place, a shelter and a base, a secret meeting point and a place of transcendental wandering, a passage of other birds who speak other languages, where everything strange is intimate and what is known is reintroduced renewed. The sound material is based on a series of recordings of birdsongs from different places. The composition relies exclusively on cross-synthesis and morphing between individual sounds. A large number of secondary hybrid material is generated, exchanging tonal contours, micro-rythms and timbres. Multiple layers of variations of each sound produces an amalgam of voices and spaces, both familiar and peculiar, in a constant flow of transformations. Voices echo through other voices, voices through spaces, spaces through voices, spaces through spaces. So, in some way, past, present and future are folded, such as, the various spaces and voices are folded together
Nikolas Valsamakis composes and teaches sound synthesis and electroacoustic music. He is a founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and currently serves at the board of directors. He teaches in the Department of Music Technology & Acoustics of HMU in Rethymno, Greece, where he co-directs the Studio of Music Interaction and Polyphony.
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21.00 EPHMEE ( Electroacoustic Music Research Lab - Ionian University) 2.
Νίκος Κανελάκης Spaces and Places
Το Spaces and Places αποτελεί μια ηχητική διαδρομή, προβάλλοντας τις μουσικές/ηχητικές εμπειρίες που αποκόμισα τα τελευταία 5 χρόνια σπουδάζοντας στην Κέρκυρα αλλά και ταξιδεύοντας τον κόσμο. Το έργο αναπτύσσει έννοιες όπως το ταξίδι, τη μετάβαση, το διάβα και την ιδέα της στιγμιαίας ύπαρξης μας σε ένα φυσικό ή μη τοπίο. Ακολουθώντας αυτήν την ιδέα το έργο εμφανίζει σκηνές σε διαφορετικούς «χώρους και μέρη» άλλους να παρουσιάζονται από τον ηχητικό ορίζοντα, άλλους να ξεπροβάλλουν από το αστικό περιβάλλον και άλλους να αναδύονται από το υπέδαφος.
Ο Νίκος Κανελάκης γεννήθηκε στην Θεσσαλονίκη το 1995. Ασχολείται με την ηλεκτροακουστική μουσική και τα ψηφιακά μέσα. Σπουδάζει Σύνθεση Ηλεκτροακουστικής Μουσικής στο Τμήμα Μουσικών Σπουδών του Ιονίου Πανεπιστημίου. Έχει συμμετάσχει σε διάφορα φεστιβάλ και συναυλίες στην Κέρκυρα, την Κεφαλονιά το Ρέθυμνο και την Αθήνα. Το 2016 έγινε μέλος του ΕΣΣΗΜ (Ελληνικός Σύνδεσμος Συνθετών Ηλεκτροακουστικής Μουσικής)
Nikos Kanelakis Spaces and Places
This piece is an audio path, the musical / sonic experiences I have gained over the last 5 years studying in Corfu but also traveling the world. The piece develops concepts such as the journey, the transition, the passage and the idea of our instant existence in a natural or non-landscape. Following this idea, the piece projects scenes in different "spaces and places" others being presented by the sound horizon, others show up from the urban environment and others emerging from the underground.
Nikos Kanelakis was born Thessaloniki in 1995. He works with electroacoustic music and digital media. He currently studies Electroacoustic Music Composition at the Department of Music Studies of the Ionian University. He has participated in various music festivals in Corfu, Kefalonia, Rethymno and Athens. In 2016 he became a member of HELMCA (Hellenic Electroacoustic Music Composers Association).
Κατερίνα Τζεδάκη Tsiou
Υπάρχουν ήχοι που μοιραζόμαστε με άλλους που ζουν σε μέρη, σπίτια και παρέες μακρινές από εμάς; Και ποιοί είναι αυτοί;
Υπάρχουν ηχητικά κοινά? (αντίθεση: Τι είναι τα ηχητικά κοινά?)
Ο
,τι και εάν είναι, εάν όντως είναι, συμπεριλαμβάνουν τους ήχους των υδάτων, του ανέμου, της θάλασσας και των πουλιών;
Μήπως κάποια από αυτά τα μοιραζόμαστε και με άλλα είδη στον πλανήτη Γη;
Ένα μυθικό πτηνό- ένα από τα πρώτα στον πλανήτη, τόσο αρχαίο που και το όνομα του έχει ξεχαστεί πια- μας διηγείται ιστορίες για τους ήχους και τα ταξίδια τους σε διάφορους τόπους και χρόνους.
Τεχνικά:
Ανάλυση και ανασύνθεση ηχητικών δειγμάτων, μίξη και συνέλιξη ηχοτοπίων. Λογισμικά που χρησιμοποιήθηκαν, Reaper, SPEAR, Max/MSP
Η Κατερίνα Τζεδάκη σπούδασε στην Αθήνα (1984-1993) θεωρητικά της μουσικής με τον Γιάννη Ιωαννίδη και τεχνικές της ηλεκτροακουστικής μουσικής και μουσική πληροφορική σύνθεση με τους Στέφανο Βασιλειάδη, Δημήτρη Καμαρωτό και Θανάση Ρικάκη. Παρακολούθησε το διετές σεμινάριο «Χρόαι» που οργάνωσε το Κέντρο Σύγχρονης Μουσικής Έρευνας (Κ.ΣΥ.Μ.Ε.). Πολλές από τις συνθέσεις της ηλεκτροακουστικής μουσικής αυτής της περιόδου πραγματοποιήθηκαν στο Κ.ΣΥ.Μ.Ε. Στη συνέχεια μετακόμισε στην Θεσσαλονίκη (1993), όπου ανέλαβε τον συντονισμό του Εργαστηρίου Μουσικής Πληροφορικής του Προγράμματος Ψυχοακουστικής του Α.Π.Θ, μέχρι το 2000. Κατά την διάρκεια της παραμονής της στην Θεσσαλονίκη, συμμετείχε σε διάφορες ερευνητικές ομάδες με αντικείμενα σχετικά με την μουσική αντίληψη, ενώ παράλληλα δίδαξε στα ετήσια σεμινάρια μουσικής πληροφορικής σύνθεσης που οργάνωσε το Πρόγραμμα Ψυχοακουστικής. Το 1995 επισκέφτηκε τις Ηνωμένες Πολιτείες της Αμερικής για δύο μήνες με υποτροφία του Προγράμματος Ελληνικών Σπουδών του Princeton University, για την πραγματοποίηση της έρευνας με αντικείμενο “Physical Modeling of Ancient Elgin Auloi”, σε συνεργασία με τον καθηγητή Perry Cook (Princeton University). Παράλληλα είχε τη ευκαιρία να παρακολουθήσει σεμινάρια σύνθεσης και διαλέξεις των Paul Lansky, Luis Andriessen, Brian Ferneyhough, Tristan Murray, Brad Garton κ.α. Το 1997 εργάστηκε στην οργάνωση του ICMC’ 97 (music collection). Πήρε Μάστερ στη Σύνθεση Ηλεκτροακουστικής Μουσικής από το City University στο Λονδίνο το 2002, και τον Μάιο του 2012 ολοκλήρωσε επιτυχώς διδακτορικό στην σύνθεση ηλεκτροακουστικής μουσικής στο De Montfort University με καθηγητή τον Simon Emmerson.Από το 2003 εργάζεται σαν εργαστηριακός συνεργάτης στο Τμήμα Μηχανικών Μουσικής Τεχνολογίας και Ακουστικής του ΤΕΙ Κρήτης. Έχει γράψει μουσική κυρίως αλλά όχι και αποκλειστικά για ηλεκτροακουστικά μέσα. Είναι ιδρυτικό μέλος του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής και της Ελληνικής Εταιρείας Ακουστικής Οικολογίας.
Katerina Tzedaki Tsiou
What are the sounds that we might share with others who live in different places, homes, communities?
Are there any aural commons? (antithesis-What do you mean by aural commons?)
Whatever they are, if they are indeed, do they include the sounds of water, of the wind, the sea and the sounds of birds?
And are there some of them which are shared between humans and the other species?
A mythical bird - one of the first birds on earth, so ancient that her name is forgotten- is telling us stories about the sounds and they journeys through spaces, places and time.
Technical: Analysis and synthesis of sound recordings, mixing and convolution. Software used: Reaper, SPEAR, Max/MSP
Katerina Tzedaki Born in Rethymno- Crete (1964). Studied (1984-93) in Athens, music, electroacoustic music and computer music with I. Ioannides, Stefanos Vasilleiades, Dimitris Kamarotos and Thanassis Rikakis. From 1993-2000 worked as coordinator of the Computer Music Lab of the Program of Psychoacoustics of the Aristotle University of Thessaloniki (IPSA). She holds an MA degree in music composition (electroacoustic) from City University (2002) and in May 2012 she finally completed her PhD studies in electroacoustic music composition at De Montfort University with Simon Emmerson. She is currently living in Greece (Rethimno, Crete) teaching at the Department of Music Technology and Acoustics of the Technological Educational Institute of Crete. She is interested in soundscape research and composition, electroacoustic music and spirituality. Her music has been performed in various places at different times. She is a founding member of HELMCA (www.essim.gr) and of Hellenic Society for Acoustic Ecology (www.akouse.gr).
Απόστολος Λουφόπουλος Βαθυσφαίρα
Η βαθυσφαίρα αφορά την εξερεύνηση του βυθού και την ανακάλυψη των κάθε είδους θησαυρών του. Η μεταφορά αυτή, πέρα από το υδάτινο στοιχείο και τον ήχο, μπορεί να συσχετιστεί με άλλα πεδία της ύπαρξής μας: το ‘μέσα’, την ψυχή, το αόρατο σύμπαν, το μικρόκοσμο... ή ό,τι επιθυμούμε να εξερευνήσουμε μέσα από το άκουσμα και την εμβύθιση στον ήχο και τη μουσική.
Η σύνθεση βασίζεται σε ηχογραφήσεις του νερού, συνδυασμένες και μεταμορφωμένες: ο βυθός του ποταμού, το σπήλαιο, ο καταρράκτης. Η ιδέα της σύνθεσης προέκυψε μέσα από μια υποβρύχια ηχογράφηση/performance, η οποία χρησιμοποιήθηκε ως βασικό υλικό: κολυμπώντας στα νερά ενός ποταμού στην ορείνή ηπειρωτική Ελλάδα, σκέφτηκα να ηχογραφήσω την εμπειρία της εμβύθισης μέσα από μια κάψουλα αέρα, σαν ένα μικρό υποβρύχιο που θα μετέφερε τα αυτιά μου κάτω απο το νερό. Έτσι κατασκεύασα μια γυάλινη αδιάβροχη θήκη, στην οποία τοποθέτησα έναν ηχητικό καταγραφέα και πειραματίστηκα με τα ηχητικά φαινόμενα που παράγονταν κινώντας τη συσκευή κάτω από την επιφάνεια του νερού και εντός-εκτός του νερού. Σε επόμενο στάδιο επισκέφτηκα ένα σπήλαιο και έναν καταρράκτη στο νησί της Κέρκυρας, όπου ηχογράφησα διαφορετικούς ήχους: σταγόνες νερού στο περιβάλλον του σπηλαίου και υψίσυχνο θόρυβο που παράγονταν από την έντονη ροή του καταρράκτη. Στο στάδιο της σύνθεσης επέλεξα τις βασικές ηχογραφήσεις που θα συνδύαζα, συνδυάζοντας έτσι και την οπτικο-ηχητική εμπειρία και μνήμη από τα διαφορετικά μέρη όπου πραγματοποιήθηκαν οι ηχογραφήσεις αυτές, και δημιουργώντας ένα μουσικό περιβάλλον βυθού. To έργο ολοκληρώθηκε το 2019 ως μέρος του προγράμματος Erasmus+, "το ηχοτοπίο στο οποίο ζούμε".
O Απόστολος Λουφόπουλος σπούδασε στο Ιόνιο Πανεπιστήµιο και στο πανεπιστήµιο CITY (Λονδίνο). Η µουσική του έχει εκτελεστεί παγκοσµίως σε γνωστές διοργανώσεις και έχει αποσπάσει 17 διεθνείς διακρίσεις σε διαγωνισµούς σύνθεσης, όπως Ars Electronica (Αυστρία) Bourges (Γαλλία), Noroit-Leonce Petitot (Γαλλία), Metamorphoses (Βέλγιο), SCRIME (Γαλλία), Space of Sound (Βέλγιο), Franco Evangelisti (Ιταλία), Musica Nova (Τσεχία), Δ. Δραγατάκης (Ελλάδα). Επιπλέον, τα έργα του έχουν συμπεριληφθεί σε σημαντικές εκθέσεις ως εγκαταστάσεις η/και σε συνδυασμό με εικαστικά μέσα και ζωντανή ερμηνεία (ΕΜΣΤ - Θεωρήματα, HELEXPO - ArteCityA, Τεχνόπολη - Athens Science Festival, Σχολή Καλών Τεχνών -Platforms Project κ.α.). Η δισκογράφηση των έργων του περιλαµβάνει συλλογές από την INA-GRM, Μusiques & Recherches, Ιόνιο Πανεπιστήµιο, CyberArts, Touch Records, και µια προσωπική ηλεκτρονική έκδοση (CD-baby). Παρτιτούρες έργων του έχουν εκδοθεί από την S. Zerboni (Milano) και την Just Flutes (London). Σε ερευνητικό επίπεδο, έχει συµµετάσχει σε προγράµµατα με διατριβές και δημοσιεύσεις για τον ήχο και περιβάλλον (Πυθαγόρας, οπτικοακουστική οικολογία), και έχει διατελέσει µέλος επιτροπών φεστιβάλ και συνεδρίων (ICMC, SMC, Ηµέρες Ηλεκτροακουστικής Μουσικής, συνέδριο Ακουστικής Οικολογίας, Φεστιβάλ Οπτικοακουστικών Τεχνών κ.α.). Είναι Επίκουρος Καθηγητής στο Ιόνιο Πανεπιστήµιο, τµήµα Τεχνών Ήχου και Εικόνας από το 2014. Έχει διδάξει στο ΤΕΙ Ιονίων Νήσων (2006-2014), και στο ΤΕΙ Ηπείρου (2005). Είναι ιδρυτικό µέλος του ΕΣΣΗΜ (στη θέση του αντιπροέδρου για το 2018) και της Ελληνικής Εταιρείας Ακουστικής Οικολογίας.
https://www.youtube.com/channel/UCU5Pfg1dOiOnz6hSVfs918g, https://soundcloud.com/apostolosloufopoulos https://ionio.academia.edu/ApostolosLoufopoulo, https://ionio.academia.edu/ApostolosLoufopoulos
Apostolos Loufopoulos Bathysphere
Bathysphere is about exploring the deep and discovering treasures.. Beyond the depths of water, or the depths of sound, this journey may reflect other metaphors of our existence: the inner self, the soul, the hidden universe… or any depth we wish to explore and submerse to, through listening.
The composition is based on recordings of water, combined and transformed: a river, a cave, a waterfall. The idea came from an underwater recording/performance, which was used as the basic material: while swimming in river waters on the mountains of Epirus, I thought of recording the experience of submersion through an air container, like a little “submarine” carrying my ears below the water. For this purpose I constructed a glass case, waterproof , placed a handheld recorder inside and experimented with the sound effects produced by drifting the device below water surface, or by moving it in and out of the water. At a later stage, I visited a cave and a waterfall on the island of Corfu, where I recorded different sounds: water dripping into the reverberant cave, and granular noise produced by the intense flux of the waterfall. At the stage of composition I chose the basic recordings to combine, and simultaneously brought together the inspirational experiences and memories of the spaces in which the recordings were made, and created a musical environment of the deep... This work was created as part of the Erasmus+ programme "the soundscape we live in" in 2019.
Apostolos Loufopoulos studied music at the Ionian University, Greece (Music Degree) and at City University, London (PhD in Music). His work is mainly focused on the composition of electroacoustic music and nature, but also in the inter -contextual approach to music and the convergence of musical genres. His music has been performed internationally in renown festivals of contemporary music (such as ICMC, Synthese, L’Espace Du Son and others) and has received a number of awards at international competitions such as Αrs Electronica (Austria), Bourges (France), Noroit (France), Metamorphoses (Belgium), Space of Sound (Belgium), Franco Evangelisti (Italy), Musica Nova (Czech Republic). Discography includes collections by INA-GRM, Musiques & Recherches, Ionian University, CyberArts, Touch Records and a personal release (CD-baby). His scores have been published by S. Zerboni (Milano) and Just Flutes (London). At a research level, he has participated in international programmes related to the study of the natural environment (Pythagoras, optic-acoustic ecology), at a post doctora level, materializing essays and papers on the artistic exploration and utilizarion of the natural world. He has been organizing member for national and international conferences and festivals on contemporary music and technology (ICMC, Days of Electroacoustic Music, conference on acoustic ecology, audiovisual arts festival and others). Since 2014 he is Assistant Professor at the Ionian University, Department of Audio & Visual Arts. He has also taught at the TEI of Ionian Islands (2006-2014) and the TEI of Epirus. He is a founding member of HELMCA (Greek Union of Composers of Electroacoustic Music) and the Greek Society for Acoustic Ecology. In parallel, he is music producer and director at Studio RED (Athens), specializing in the areas of recording, sampling orchestration and mixing, on various musical styles.
https://www.youtube.com/channel/UCU5Pfg1dOiOnz6hSVfs918g, https://soundcloud.com/apostolosloufopoulos https://ionio.academia.edu/ApostolosLoufopoulo, https://ionio.academia.edu/ApostolosLoufopoulos
Θεόδωρος Λώτης Silent Landscape Elder Tree
Silent Landscape II: Elder Tree (7:00, 2019). Στη μυθολογία, ο σαμπούκος θεωρείται ιερό φυτό. Σύμφωνα με τον μύθο, ένα πνεύμα με την ικανότητα να προστατεύει αλλά και να τιμωρεί ζεί μεταμορφωμένο στο δέντρο. Το Silent Landacape II: Elder Tree είναι ένα ηχοτοπίο το οποίο περιλαμβάνει κυρίως ηχογραφήσεις που πραγματοποιήθηκαν κάτω από μια συστάδα σαμπούκων έξω από το χωριό Κορακιάνα στην Κέρκυρα, με τη βοήθεια των Δημήτρη Σάββα και Νίκου Κανελάκη.
Θεόδωρος Λώτης Σπούδασα κιθάρα, φλάουτο, ηλεκτροακουστική σύνθεση και πλαστικές τέχνες στην Ελλάδα, Βέλγιο και Αγγλία. Συναυλίες και συμμετοχές σε φεστιβάλ στην Ευρώπη, Ασία, Αυστραλία και βόρεια και νότια Αμερική. Έλαβα πρώτα, δεύτερα βραβεία και διακρίσεις στους διαγωνισμούς σύνθεσης Time Play-Jeu de Temps/UK Section 2003 (Αγγλία-Καναδάς), Métamorphoses 2000, 2002 και 2016 (Βέλγιο), Luigi Russolo 2000 και 2002 (Ιταλία), CIMESP 2001 (Βραζιλία), Sculpted Sound Composers Competition 2000-2001 (Αγγλία), Bourges 2000 (Γαλλία). Το 2002 απέσπασα το πρώτο βραβείο στον Διεθνή Διαγωνισμό Εκτέλεσης Ηλεκτροακουστικής Μουσικής, στις Βρυξέλλες από τον οργανισμό Musiques & Recherches. Έχω δεχθεί αναθέσεις για σύνθεση έργων από τους οργανισμούς Musiques et Recherches (Βέλγιο 1997, 2000, 2014), τον Sculpted Sound Composers Competition και The Trustees of the Estorick Foundation (Αγγλία 2000-2001), τον Amici della Musica di Cagliari (Ιταλία 2000, 2017), το Φεστιβάλ Visiones Sonoras (Μεξικό 2007), την κλαρινετίστα Esther Lamneck (ως προσκεκλημένος συνθέτης το 2012 στο New York University) και τις ομάδες χορού Ionian Act και One Small Step.
Αφού συνέθεσα έργα για οργανικά σύνολα και κυρίως για το χορό και το θέατρο, οι πρόσφατες ερευνητικές μου δραστηριότητες στον τομέα της σύνθεσης εστιάζουν στις σχέσεις του ηχητικού χώρου με το ηχητικό φάσμα και το ηχόχρωμα.
Το 2003 ολοκλήρωσα τις διδακτορικές του σπουδές με καθηγητή τον Denis Smalley στο Πανεπιστήμιο City του Λονδίνου με υποτροφίες από τη Βρετανική Ακαδημία (Arts and Humanities Research Board) και το Ίδρυμα Α. Ωνάσης. Δίδαξα σύνθεση και ανάλυση ηλεκτροακουστικής μουσικής στο Goldsmiths College - Πανεπιστήμιο του Λονδίνου, στο ΤΕΙ Κρήτης, στο Αριστοτέλειο Πανεπιστήμιο και σε Πανεπιστήμια της Ευρώπης και της Αμερικής ως προσκεκλημένος συνθέτης. Είμαι Επίκουρος Καθηγητής στο Τμήμα Μουσικών Σπουδών του Ιόνιου Πανεπιστήμιου και ιδρυτικό μέλος του Ελληνικού Συνδέσμου Συνθετών Ηλεκτροακουστικής Μουσικής και της Ελληνικής Εταιρίας Ακουστικής Οικολογίας. Η μουσική μου κυκλοφορεί από την καναδική εταιρία Empreintes Digitales (www.electrocd.com). Περισσότερες πληροφορίες στο www.theodoroslotis.com
Theodoros Lotis Silent Landscape Elder Tree
Silent Landscape II: Elder Tree (7:00, 2019).In mythology, the Elder tree is highly sacred. According to the myth, a spirit-guardian with the ability to protect and to harm lives inside the tree. Silent Landacape II: Elder Tree is a soundscape that contains recordings from below a cluster of elder trees near the village of Korakiana in Corfu. The recordings were made with the assistance of Demetrios Savva and Nikos Kanelakis.
Theodoros Lotis studied the guitar, flute, music analysis, electroacoustic composition and fine arts in Greece, Belgium and the UK. His music has been performed at festivals and conferences in Europe, Australia, America and Asia, and has received a number of awards and distinctions at Bourges (France, 2000), Sculpted Sound Composers Competition (UK, 2000), Metamorphoses (Belgium, 2000, 02, 16), Luigi Russolo (Italy, 2000, 02), CIMESP (Brasil, 2001) and and Jeu de temps / Times Play (UK/Canada, 2002). He was awarded the first prize at the Concours International de Spatialisation pour l’Interprétation des Ouevres Acousmatiques by Musiques et Recherches, in Brussels. He has done commissioned work for Musiques et Recherches (Belgium, 1997, 2000, 2014), Sculpted Sound Composers Competition (UK, 2000), Amici della Musica di Cagliari (Italy, 2001, 2017), the festival Visiones Sonoras (Mexico, 2007), the clarinetist Esther Lamneck (as invited composer at the New York University in 2012) and the dance companies Ionian Act and One Small Step.
Having produced several instrumental works and collaborated with artists from various disciplines (dance, theatre, video) his current endeavours in music are focused on spectrum, timbre and sonic space.
He has completed a Ph.D. in Music at the City University, London, thanks to grants from the British Academy (Arts and Humanities Research Board), and the Foundation A.S. Onassis.
Theodoros Lotis has been teaching electroacoustic composition and analysis at Goldsmiths College, University of London, the Technological and Educational Institute of Crete, the Aristotle University of Thessaloniki, Greece and Universities in Europe and America as invited composer. He is Assistant Professor at the Ionian University, Corfu, Greece, where he teaches Sonic Arts, Electroacoustic Composition, History and Aesthetics of Electroacoustic Music, Music Informatics, Programming for Music and Live Electronics. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and the Hellenic Society for Acoustic Ecology. His music has been released by Empreintes Digitales (www.electrocd.com).
www.theodoroslotis.com
Laboratory of Electroacoustic Music Research & Applications [ΕΡΗΜΕΕ]
Department of Music Studies, School of Music & Audiovisual Arts | Ionian University
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