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X-ORIGINAL-URL:http://icmc2026.ligeti-zentrum.de
X-WR-CALDESC:Events for ICMC HAMBURG 2026
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TZID:Europe/Amsterdam
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DTSTART:20250330T010000
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DTSTART:20251026T010000
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260423T074905
CREATED:20260415T142737Z
LAST-MODIFIED:20260421T141024Z
UID:10000102-1778922000-1778927400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 11: Studio Reports I
DESCRIPTION:Three studio reports will be presented:\n\n  \n\nTakeyoshi Mori\, Studio Report: Laboratory of Advanced Music Production\, Senzoku Gakuen College of Music\n\n\nJosé Ricardo Barboza and Gilberto Bernardes\, Studio Report: A Third-Order Periphonic Ambisonics System\nfor Teaching and Research at the [removed]\n\n\nLudger Brümmer\, Götz Dipper and Dan Wilcox\, 20 Years Zirkonium and Klangdom at ZKM\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-11-studio-reports-i/
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T123000
DTSTAMP:20260423T074905
CREATED:20260415T143012Z
LAST-MODIFIED:20260422T150156Z
UID:10000104-1778929200-1778934600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 12: Studio Reports II
DESCRIPTION:Two studio reports will be presented:\n\n  \n\nHefang Ma\, Jingyu Luo\, Paul Francis\, Mara Helmuth\, Sangbong Nam and Wei-Huai Chen\, Studio Report: Center for Computer Music 2025–2026\n\n\nPedro Rebelo and Craig Jackson\, SARC Studio Report\n\n\n\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-12-studio-reports-ii/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T160000
DTSTAMP:20260423T074905
CREATED:20260415T123619Z
LAST-MODIFIED:20260417T115539Z
UID:10000126-1778929200-1778947200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Solder your very own synthesizer. An Introduction to Electronics and Soldering
DESCRIPTION:Photo: WorkINGLab TUHH\n  \nIn this workshop\, you’ll discover the basics of soldering and get hands-on experience soldering cables and various electronic components. It will leave you well-prepared for future soldering and repair projects. And the best part? By the end\, you’ll have a fully operational synthesizer that you built yourself!  \nFor adults and teens aged 15+\nregistration required here \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-solder-your-very-own-synthesizer-an-introduction-to-electronics-and-soldering/
LOCATION:Hamburg University of Technology\, WorkINGLab\, Eißendorfer Straße 40\, Building N\, 2nd Floor\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Off-ICMC,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260423T074905
CREATED:20260421T183226Z
LAST-MODIFIED:20260421T190204Z
UID:10000188-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:A Voice Intolerable to Heaven and Earth\nFaming Qin \nCollapse\nVarun Kishore \nPaper Wreck\nChun-Han Huang \nRedDeadRouletteReconstruction\nNattakon Lertwattanaruk \nSingularity\nSilvia Matheus \nSpawn\nPaul Oehlers \nTekstil\nNayaka Adinata and Muhammad Welderahmat \nThe Unfinished Drum\nKeming Zeng \nThe Voice of the Tree\nYufen Qiu \nThe Lake Bell\n璟 李   \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-5/
LOCATION:Hamburg University of Technology\, Building A (0.018)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T110000
DTEND;TZID=Europe/Amsterdam:20260516T173000
DTSTAMP:20260423T074905
CREATED:20260421T190101Z
LAST-MODIFIED:20260421T190101Z
UID:10000179-1778929200-1778952600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Comfortable Distance\nGiovanni Crovetto \nDisappearing\nMatteo Tomasetti\, Francesco Casanova\, Andrea Veneri\, Vili Pääkkö and Andrea Strata \nHokkaido Snow Soundscape\nZiwei Yang \nImpulse Impromptu III\nTolga Yayalar \n4-body Interactions (7’34’’)\nLeonidas Spiliopoulos \nArchitecture éphémère\, acousmatic ambisonic piece\nNicola Giannini \nConcerto for Piano and Loudspeaker Orchestra\nNeal Farwell \nCorium II\nMathieu Lacroix \nGott\nRikhardur H. Fridriksson \nMatters 10\nDaniel Mayer \nOBSess\nAllison Ogden \nOscillation of Life\nJan Jacob Hofmann \nNoType\,  algorithmic 3D audio processing\nVilbjørg Broch Phe \nSonic Fragmentation – a fixed media multichannel piece\nDaniel Gomes \nCalling in “Raumforderungen” 8-channel diffusion work\nAleksandar Zecevic and Kiran Bhumber \nFluidante. A quadrophonic recording from the Latent Russando framework\nMartin Heinze \nOdradek\nCristian Gabriele Argento
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-5/
LOCATION:Hamburg University of Technology\, Building A (0.018)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T133000
DTEND;TZID=Europe/Amsterdam:20260516T153000
DTSTAMP:20260423T074905
CREATED:20260421T163825Z
LAST-MODIFIED:20260422T125500Z
UID:10000105-1778938200-1778945400@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 6A
DESCRIPTION:Concert 6A forms a bridge between the distant past and a radically digital future. It is a search for the edges of the audible—whether in the almost imperceptible silence of a saxophone\, in the raw 1-bit synthesis of early computer music pioneers\, or in the lament of the Gorgons on a reconstructed ancient instrument. \n  \nProgram Overview\nApparizione del Silenzio \nYisong Piao \ntibone\nMiller Puckette and Kerry Hagan \nA Hatful of Feathers \nMarc Ainger \nchime\nTiffany Skidmore and Patti Cudd \nCyanotypes\nPatti Cudd \nGorgons’ Cry\nKonstantinos Karathanasis \n  \nAbout the pieces & artists\nYisong Piao: Apparizione del Silenzio  \nApparizione Del Silenzio does not contain “silence” itself—at least\, not in the conventional sense of an absence of sound. Instead\, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum\, the friction between air and metal\, the dissipation of sound waves in space—those margins of sound that are ignored\, inaudible\, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness\, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing\, silence ceases to signify absence and becomes another mode of existence.\nThe piece is written for tenor saxophone and electronics\, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence\, where breath\, touch\, and hesitation become part of an almost inaudible voice.\nThe generative logic of the work is not the appearance of silence\, but its presentation: silence here is not what is conventionally called “silence\,” but a subject that reveals itself through its auditory traces. \nAbout the artist\nYisong Piao (b. 1992\, China) is a Seoul-based composer specializing in electroacoustic and instrumental music. His works have been presented at ICMC 2023 (China)\, ICMC 2024 (Korea)\, and ICMC 2025 (Boston). He is a researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA)\, focusing on microtonality and algorithmic approaches in composition. \n  \nMiller Puckette and Kerry Hagan: tibone \nMiller Puckette and Kerry Hagan present an improvisation on 1-bit synthesizers. Rather than pursuing chip tunes or similarly low-bit music\, the duo navigates a range of possible timbres in an exploratory performance. \nAbout the artists\nMiller Puckette and Kerry Hagan began focused collaborations on academic and musical projects in 2014. Together their duo has performed in North America and Europe. They have introduced novel synthesis algorithms through new performances. Their work explores timbre\, spatialization\, real-time computer processes\, algorithms\, interaction design\, performance practice\, and performance systems. \n  \nMarc Ainger: A Hatful of Feathers\nIn A Hatful of Feathers for Alto Flute and Computer\, the flutist creates a music in realtime that is informed by expanded possibilities\, using traditional and extended techniques. The work builds from Willian Sethares’ research into spectra and tuning.\nThe computer analyzes the pitch\, amplitude\, and spectral content of the flute playing (including all of the sounds created by the mechanism of the flute\, such as the sound of the keys)\, interacting with the live sound in various ways (stretching/contracting and/or spatializing various spectra\, retuning spectra\, granulating and creating micro-glissandi\, etc). We use a custom Max/Msp patch using some well-known spectral and spatial techniques\, along with some extensions of these techniques. \nAbout the artist\nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences.\nPerformances of Ainger’s works have included the New York Philharmonic Biennial; the INA/GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; SIGGRAPH; the Palais de Tokyo (Paris); FolkwangWoche NeueMusik(Essen); Gaggego!(Gothenburg); the Joyce Theater (New York); Guangdong Modern Dance; and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship\, the Irino International Chamber Music Competition\, Musica Nova Prague\, Meet the Composer\, and the Esperia Foundation. \n  \nTiffany Skidmore and Patti Cudd: chime\nPatti Cudd performs “chime\,” for percussion and fixed media\, composed for her by Tiffany M. Skidmore. “chime” requires 2 snare drums\, 6 crotales\, 12 distinctive beaters\, and 2 bluetooth bone conduction\, wireless speakers. Each speaker is affixed to the underside of one snare drum. All 6 crotales are placed on a single drumhead. The performer plays a complex series of patterns moving between bare drumhead and unmoored crotales using combinations of beaters. Mechanistic\, unpitched patterns begin to merge with melodic\, pitched elements that sometimes bend to ultimately become a metallic wall of overtones as the line between electronic and live acoustic sound comes into and out of focus. This piece was premiered by Cudd at the VT New Music + Technology Festival in May 2023\, ICMC represents the premiere of a revised version of the electronics and the first time Patti will use the bone conduction speakers that were originally intended for this piece. \n“chime” happens on three planes: a long\, liquidating chiasmus meets two rotating pitch constellations. \nAbout the artists\nComposer/Associate Director of the Mizzou New Music Initiative Tiffany M. Skidmore has held faculty positions at the University of Minnesota\, Virginia Tech\, and the University at Buffalo (SUNY)\, where from 2023-2024\, she held the Birge Cary Chair in Music Composition. In 2025\, she was Visiting Professor at McGill University\, in residence at the Centre for Interdisciplinary Research in Music Media and Technology. She is Co-Founder\, Executive Director\, and Artistic Director of 113\, producing the Twin Cities New Music Festival\, guest residencies\, and concerts throughout the world. \nDr. Patti Cudd is active as a percussion soloist\, chamber musician and educator. Patti is a member of the acclaimed new music ensemble\, Zeitgeist. Her other diverse performing opportunities have included CRASH\, the Minnesota Contemporary Ensemble\, Minnesota Dance Theatre and the Borrowed Bones Dance Theater.\nAs an active performer of the music of the 21st century\, she has given concerts and master classes throughout North America\, Asia\, Europe and South America. As a percussion soloist and chamber musician\, she has premiered well over 200 new works. \n  \nPatti Cudd: Cyanotypes \nCyanotypes\, with their characteristic white imprints on a deep blue field\, transcend mere photographic representation; they serve as blueprints that reveal the essence of objects through their negative form. This transformative process redefines the concept of the “object\,” not as a fixed entity\, but as an echo\, a trace\, or an imprint of presence. In this conceptual framework\, cyanotypes become a metaphor for the translation of physical and temporal phenomena into abstracted impressions. Inspired by this principle\, Cyanotype’s Five Studies approaches the vibraphone not through its direct sound or physicality\, but as a series of rhythmic imprints — sonic blueprints that capture the vibraphone’s articulate and resonant characteristics. \nThe vibraphone is renowned for its shimmering sustain\, dynamic control\, and ability to produce both melodic and percussive textures. In Cyanotype’s Five Studies\, these qualities are refracted through the instrumental language itself\, emphasising the vibraphone’s unique ability to articulate rhythmic patterns with clarity and tonal nuance. This work creates a rich sonic landscape for exploring how vibraphone rhythms can be abstracted\, deconstructed\, and re-imagined as imprints within sound. \nEach study acts as a sonic cyanotype\, distilling the essential rhythmic and timbral gestures of the vibraphone into textures that evoke the original instrument’s expressive potential without relying on straightforward replication. The vibraphone’s capacity for sustained tones and nuanced dynamic shading allows for a complex rendering of rhythmic articulation\, translating percussive strikes into lingering tonal shapes. The five studies function collectively as a blueprint series—each revealing different facets of the vibraphone’s character through a process of mediation\, exploring articulation\, rhythmic complexity\, timbral contrast\, and dynamic variation. \nBy conceptualising the work as an imprint rather than a direct transcription\, the piece invites listeners to reconsider the relationship between source and representation. It challenges traditional notions of musical interpretation by emphasising the transformative potential of the vibraphone to embody and reinterpret its own characteristic sound patterns. The blue-white dichotomy of the cyanotype process parallels the interplay between presence and absence in sound—notes articulated and decayed\, rhythm asserted and refracted\, the physical gesture and its sonic echo. \nUltimately\, Cyanotype’s Five Studies proposes a dialogue between visual and auditory art forms\, grounded in the shared concept of imprinting. Just as the cyanotype renders the visible object in reverse contrast\, this work explores how musical objects—rhythms and timbres—can be refracted through mediation to reveal new expressive dimensions. The vibraphone becomes both subject and medium\, transforming its distinctive voice into a series of articulate\, resonant imprints\, inviting a deeper engagement with the ephemeral nature of sound and the processes of artistic representation. \nAbout the artists\nPatti Cudd is an American percussionist\, educator\, and new-music advocate. A member of Zeitgeist and a professor at the University of Wisconsin–River Falls\, she specializes in contemporary percussion\, electroacoustic music\, and commissioning new works. Cudd has performed internationally\, recorded widely\, and collaborated with leading composers to expand the modern percussion repertoire. \nElainie Lillios is an American composer whose music explores sound\, space\, and the physical experience of listening. Her works often blend acoustic instruments with electronics\, field recordings\, and subtle timbral shifts. Lillios’s music has been performed internationally and is known for its immersive\, textural quality and imaginative use of resonance and sonic detail. \n  \nKonstantinos Karathanasis: Gorgons’ Cry\nThis programmatic composition is inspired by the 12th Pythian Ode\, written by Ancient Greek poet\, Pindar\, in honor of a formidable Aulos player. When Perseus\, aided by goddess Athena\, beheaded sleeping Medusa\, the only mortal of the three sister Gorgons\, the two immortal Gorgon sisters\, Stheno and Euryali woke up\, realized the crime and chased the culprit with terrible cries and laments. Athena listened to the Gorgons’ cries and created Aulos\, a double pipe-double reed wind instrument to imitate them.\nIn contrast to the ancient poet\, and profoundly stirred by ongoing contemporary reports of femicides\, the composer interprets this myth from a feminist perspective. Medusa is portrayed as a tragic victim of patriarchy\, and the Gorgons cry out in extreme anger\, mourning the lost beauty of their sister.\nIn modern days\, Archeomusicologists study fragments\, or entire pieces of excavated Auloi from various sites and eras to recreate exact replicas to learn more about the sounds and performing techniques of this long-lost instrument. This piece is based on a Pydna aulos\, an instrument entombed in Macedonia\, Greece at about the 2nd half of the 4th century BCE. Melodic materials derive from the archaic Spondeion scale that was used to accompany certain religious processions.\nThe computer alters the aulos sound in real-time based entirely on custom combinations of variable delay and FFT algorithms\, without using any prerecorded materials. Gorgons’ Cry is the first composition in the modern repertory involving aulos and live electronics. \nAbout the artists\nKonstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry\, artistic cinema\, abstract painting\, mysticism\, Greek mythology\, and the writings of Carl Jung. His compositions have been performed at numerous festivals and received awards in international competitions\, including Musica Nova\, SIME\, SEAMUS/ASCAP\, Música Viva and Bourges. Recordings of his music are released by SEAMUS\, ICMA\, Musica Nova\, Innova\, Equilibrium and HELMCA. Ravello Records released in March 2026 his solo album Resonant Mythologies with the support of the University of Oklahoma. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo. He serves as Professor of Composition & Music Technology at the University of Oklahoma. More info at: http://karathanasis.org \nCALLUM ARMSTRONG is an award winning multi-instrumentalist specialized in Early Music. For over a decade\, Callum has devoted a great deal of his time to the revival of ancient Greek and Roman auloi. He has a YouTube channel\, the ”The Aulos Collective” which is dedicated to how auloi were made\, played\, and used\, in collaboration with the luthier Max Brumberg. Callum regularly performs internationally as a soloist\, in various ensembles\, and works as a composer\, teacher and session musician for film and computer games. Recently Callum was the subject of the documentary ‘Callum Armstrong the Aulete’ which won 1st price from the Ierapetra international film festival. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-6a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T150000
DTEND;TZID=Europe/Amsterdam:20260516T180000
DTSTAMP:20260423T074905
CREATED:20260421T193915Z
LAST-MODIFIED:20260421T193915Z
UID:10000198-1778943600-1778954400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation Showcase
DESCRIPTION:Empty Sets\nMichael Trommer \nPast Tense – Exploring Idleness and Boredom as \nJulian Rubisch \nUkuPlay: The Huggable Sonic Pillow\nXingxing Yang \nFlower.Mirror \nYuxin Chen \nMirRaspiju\nEmanuele Sara \nF L W R: A generative audiovisual work of small file media\nArne Eigenfeldt\, Jim Bizzocchi and Simon Overstall \nThe emilie Bell\nYongwoo Lee \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-showcase/
LOCATION:Hamburg University of Technology\, Building H (0.03)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Installation,Showcase
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260423T074905
CREATED:20260421T164223Z
LAST-MODIFIED:20260422T131202Z
UID:10000106-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 6B
DESCRIPTION:Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert\, its powerful pipe sounds merge with AI agents\, mobile networks\, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument\, but as a living\, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute\, saxophone\, and violin. \n  \nProgram Overview\nTraversée IIIb \nNicolas Brochec \nSpring Code \nJian Feng \n《Missed Call》\nYi-Tzu Huang \nSchattenwald \nSarah Proske \npan:individual\, “come closer\, come home”\nFranz Danksagmüller \nOpus\nS. Ali Hosseini \nles lignes de désir\nPierre Alexandre Tremblay \n  \nAbout the pieces & artists\nNicolas Brochec: Traversée IIIb  \nTraversée IIIb is a mixed music piece for flute\, live electronics\, and Somax AI agents\, in which the electronic part is generated in real time. In Traversée IIIb\, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents\, this enables close interactions between the instrumental and electronic parts\, producing sonic responses ranging from counterpoint to accompaniment\, and occasionally introducing unexpected electronic events. For this reason\, a functional notation is used for the electronic part of the score\, describing actions and parameters rather than musical results\, which cannot be fully predetermined. \nAbout the artist\nNicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers\, including Philippe Manoury\, Martin Matalon\, José Manuel López López\, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris\, NHK member ensembles\, and Improtech (IRCAM). His compositions have received international recognition\, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT). \n  \nJian Feng: Spring Code\nSpring Code is a real-time interactive audiovisual work that revives the konghou (Chinese harp)—once lost for centuries—through a custom responsive interface. Treating classical poetic aesthetics as a generative source\, it reimagines Wang Wei’s line “Clear spring flows over stones” not as an illustration\, but as executable logic: a living data stream shaped by performance.\nThe konghou functions simultaneously as an instrument and an expressive interface. Its acoustic output—plucks\, harmonics\, string vibrations—is captured via a microphone\, while performer gestures are tracked through laser distance\, pressure\, and sliding touch sensors. All inputs are fed into an integrated system built on Max/MSP\, Arduino\, and TouchDesigner\, driving real-time granular synthesis\, adaptive spatialization (VBAP)\, dynamic visuals\, and responsive light from addressable LED strips.\nThe resulting soundscape evokes the fluidity of mountain streams; its visual layer maps audio features to flowing particles\, creating a multimodal environment where cultural memory is continuously re-encoded. “Spring” embodies nature’s flow; “Code” pulses as digital lifeblood. Rather than preserving tradition as an artifact\, Spring Code compiles it anew in every performance—where hand gestures conduct light and data\, and konghou tones shape space and sound.\nBetween the echo of a mountain spring and the pulse of an algorithm\, the work constructs an inexhaustible river of resonance across time. In Spring Code\, the spring never dries—the code never stops flowing. \nAbout the artist\nJian Feng is a composer and Associate Professor at the Wuhan Conservatory of Music\, where she serves as Director of the Center for Computer Music Composition Research. She was a visiting scholar at the Center for New Music and Audio Technologies (CNMAT) at the University of California\, Berkeley\, supported by the China Scholarship Council.\nHer creative and research practice centers on interactive electronic music and the application of artificial intelligence in musical contexts. Her works have been presented at leading international forums and festivals\, including the International Computer Music Conference (ICMC)\, the International Society for Contemporary Music (ISCM) World New Music Days\, Frontier+ Festival (UK)\, MUSICACOUSTICA-Beijing\, MUSICACOUSTICA-Hangzhou\, and the Shanghai International Electroacoustic Week.\nFeng holds key roles in China’s interdisciplinary arts–technology community: Deputy Secretary-General of the Electronic Music Society of the Chinese Musicians Association\, Committee Member of the Art & Artificial Intelligence Specialized Committee of the Chinese Association for Artificial Intelligence (CAAI)\, and Executive Committee Member of the Computational Arts Division of the China Computer Federation (CCF). \n  \nYi-Tzu Huang:《Missed Call》\nMissed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”\, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre\, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover\, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music\, “Missed call” symbolizes unaligned energy and temporary pauses\, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore\, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance\, allowing the musical closure to be awakened again. \nAbout the artist\nYi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions\, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research. \n  \nSarah Proske: Schattenwald \nSchattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small\, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time\, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect\, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl\, the wind rustling through the trees\, the creaking of branches…\nThe electronics are based on recordings of a small\, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones\, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.\nThe performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai\, Hamburg\, with its special possibilities\, in particular wind swellers and built-in percussion instruments. \nAbout the artist\nSarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree\, with a focus on IKN – improvisation\, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions\, such as works commissioned by the “Orgelstadt Hamburg e.V.”\, Erzbistum Paderborn\, Dommusik Linz for the vocal ensemble „Cantando Admont“\, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.\nShe won awards in different disciplines\, so as a composer as well as a soprano and organ improviser at different competitions.\nHer compositions have been performed at venues including the Orgelpark Amsterdam\, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen\, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.\nSince March 2023\, Sarah Proske has been working as an assistant organist at St. Jakobi Lübeck\, and since November 2023 as a tutor for the subject “Improvisation\, Composition and New Media” at the MHL. \n  \nFranz Danksagmüller : pan:individual\, “come closer\, come home”\npan:individual is a participatory work for organ\, live electronics\, mobile phones\, and audience that explores how individual perception\, agency\, and identity are transformed within digitally mediated collective systems. The piece examines how contemporary technologies shape experiences of belonging\, guidance\, and participation\, blurring the boundary between individual action and collective behavior.\nThe performance unfolds as a distributed audiovisual environment in which audience members access individualized video streams on their mobile phones. Initially fragmented and asynchronous\, these streams gradually align\, forming a shared sonic and visual field. The organ part follows algorithmic and process-based instructions that guide constrained improvisation\, functioning not as an authoritative voice but as one element within a larger collective texture shaped by live electronics.\nAs the performance progresses\, audience members are invited to participate vocally\, tuning into sustained pitches suggested by the audiovisual environment. Digital avatars address participants directly\, encouraging alignment and proximity and culminating in the formation of a collective sonic organism.\nRather than presenting a narrative or explicit critique\, pan:individual creates an experiential situation in which participants are invited to reflect on how digitally mediated systems influence collective identity\, agency\, and the desire to belong. \nAbout the artist\nFranz Danksagmüller (*1969) is an Austrian organist\, composer\, and media artist working at the intersection of instrumental performance\, live electronics\, rule-based improvisation\, and participatory systems. He is Professor for Organ and Improvisation at the University of Music in Lübeck and currently Visiting Professor at the Royal Academy of Music\, London. His works include music theatre\, ensemble and vocal works\, and participatory projects integrating digital technologies and audience interaction\, presented internationally across Europe\, Asia\, Africa\, and North America. \n  \nS. Ali Hosseini: Opus\nThis project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann\, a pioneering figure in abstract experimental cinema.\nBy studying Ruttmann’s visionary approach\, I have reinterpreted his work through a contemporary lens\, integrating modern technology to introduce a new dimension of abstraction.\nMy goal is to build upon his artistic legacy\, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.\nThe musical composition for this project blends electronic\, electroacoustic\, and acoustic elements to authentically capture its essence.\nBy incorporating synthesizers and concrète sounds\, I seek to establish a fresh sonic approach\, one that bridges tradition with innovation\, enhancing the abstract nature of the work through a dynamic and immersive auditory experience. \nAbout the artist\nBorn in 1991in Tehran\, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music\, where I focused on Classic music and composition. Currently\, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza\, Italy. My studies encompass electroacoustic\, electronic\, and contemprory composition\, as well as sound design and the integration of video and short films.\nI am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.\nMy works have been featured at several prestigious festivals\, including the PdMaxCon25~ (USA)\, UVM 2025: COSMOCENO (Brazil)\, Simultan Festival (Romania)\, MA/IN Festival (Italy)\, SEHSUCHTE film festival (Germany)\, Musicmediale Festival (Italy)\, Appennino Festival (Italy)\, Piacenza Music Festival (Italy)\, Pensiero Contemporaneo Festival (Italy)\, and La Notte dei Ricercatori (Italy)\, 43rd Festival Tous Courts (France)\, Evimus 2025 (Germany). \n  \nPierre Alexandre Tremblay: les lignes de désir\nArchitects\, luthiers\, designers\, urban planners\, and other dreamers\, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways\, and soon emerge lines of desire. \nThis piece is an ode to the beauty of aging and experience\, of traces of time passing and writing its story\, of patina and of wrinkles\, of used leather boots\, of rusty structures\, of crow’s feet. Fragile and subtle at first\, these lines\, in the wake of usage\, are the witnesses of the soft and gentle resistance of the ignored wanderer. \nIt is an homage to the emerging beauty of subversive (ab)uses. \n— \nThanks Irine Røsnes\, Linda Jankowska\, the FluCoMa team\, Notam’s team\, and CeReNeM’s Creative Coding Lab. \nAbout the artist\nPierre Alexandre Tremblay (Montréal\, 1975) is a composer and performer on bass guitar and electronic devices\, in solo and group settings\, between electroacoustic music\, contemporary jazz\, mixed music and improvised music. He also worked in popular music\, and practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-6b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260516T220000
DTEND;TZID=Europe/Amsterdam:20260516T233000
DTSTAMP:20260423T074905
CREATED:20260422T110714Z
LAST-MODIFIED:20260422T132147Z
UID:10000218-1778968800-1778974200@icmc2026.ligeti-zentrum.de
SUMMARY:Club Club Concert 6C (After Party)
DESCRIPTION:Program Overview\nRushpusher\nEric Honour \nSyzygys \nFiona Xue Ju and Drew Farrar \nUnforeseen Metamorphic\nJoshua Rodenberg and Fumiaki Odajima \nCapture Un-Capturable\nYue Zhang \nCross talk: distributed feedback \nDennis Scheiba \nthese particles we immersed \nAnqi Liu and Han Zhang \n  \nAbout the pieces & artists\nEric Honour: Rushpusher\nRushed onto a Push\, Rushpusher features a rush of buttons pushed rushedly\, to push a sense of rushing\, pushy music\, pressing close like pushing through a dense bed of rushes. Also\, a bass may be dropped. \nAbout the artist\nDevoted to exploring and furthering the intersections of music and technology\, Eric Honour’s work as a composer and saxophonist has been featured around the world in numerous international conferences and festivals like ICMC\, SEAMUS\, MUSLAB\, Sonorities\, EMM\, NYCEMF\, and others. A member of the Athens Saxophone Quartet\, he performs regularly in Europe and the United States\, and has presented lectures and masterclasses at many leading institutions.\nHonour is Chair of the School of Visual and Performing Arts\, Professor of music\, and founder of the Center for Music Technology at the University of Central Missouri\, teaching courses in acoustics\, music technology\, and composition. His work as an audio engineer and producer appears on the Innova\, Centaur\, Ravello\, and Irritable Hedgehog labels\, among others\, as well as on numerous independent releases and he has served as an acoustics consultant and designer on projects ranging from recording studios to classrooms to auditoriums and performance spaces\, most recently serving as the principal designer of UCM’s cutting-edge music technology studios\, which opened in 2022. \n  \nFiona Xue Ju and Drew Farrar: Syzygys \nSyzygys is an electroacoustic improvisation for electric guitar\, pedals\, analog and digital synthesizers\, and live electronics. The performance is based on a real-time interaction between two performers whose sound worlds are continuously shaped\, transformed\, and interwoven through electronic mediation. One performer operates a hybrid setup combining analog and digital synthesizers with custom Max/MSP patches and Ableton Live\, controlled via MIDI to enable responsive sound generation\, processing\, and structural modulation. The other performer plays electric guitar through an extended chain of pedals\, exploring experimental sound production\, noise-based textures\, and timbral instability. \nRather than treating the electronic systems as fixed signal processors\, the performance emphasizes electronics as active agents within an improvisational ecology. Sound materials circulate between guitar\, synthesizers\, and live processing\, creating feedback loops of influence in which gesture\, listening\, and system behavior mutually inform musical decisions. The resulting form emerges through moment-to-moment negotiation\, highlighting fragility\, risk\, and unpredictability as core aesthetic values. \nThe performance explores the tension between control and indeterminacy in live electronic improvisation\, examining how analog and digital systems can coexist and interact within a shared sonic space. By foregrounding performer–performer and performer–system interaction\, the work contributes to contemporary discourse on electroacoustic improvisation\, hybrid performance practices\, and the role of real-time electronic mediation in collaborative music-making. \nAbout the artists\nFiona Xue Ju is a Ph.D. candidate in Experimental Music and Digital Media at Louisiana State University. A composer and media artist originally from China\, she works across sound\, performance\, and visual design. She holds a Bachelor’s degree in composition from Oberlin Conservatory and a Master’s degree in CoPeCo (Contemporary Performance and Composition) from CNSMD Lyon. Her work blends electronic music with multimedia\, exploring immersive\, politically engaged experiences across digital and physical spaces. \nDrew Farrar is a composer\, guitarist\, and educator from St. Louis\, Missouri\, based in Baton Rouge\, Louisiana. His music explores agency and otherness through physical movement\, quotation\, and spectral techniques. His works have been performed by ensembles including RE:duo and the Illinois Modern Ensemble. He received M.M. degrees in Composition and Guitar Performance from the University of Illinois at Urbana-Champaign and is currently pursuing a Ph.D. in Composition at Louisiana State University. \n  \nJoshua Rodenberg and Fumiaki Odajima: Unforeseen Metamorphic\nA seven minute acousmatic performance explores perception as a field where sound becomes a medium of transformation. The work begins with pure sine waves tuned in just intonation\, forming a low intensity sonic layer that permeates the space rather than occupying the foreground. Slow modulation and close interval relationships generate micro beating and phase drift\, unfolding at the threshold of audibility and drawing attention to subtle shifts in listening.\nWithin this continuous membrane\, a second live system of modular synthesis enters as an autonomous partner. Instead of accompanying the sine field\, it negotiates with it\, introducing pulses\, harmonics\, and timbral pressure that can align\, destabilize\, or dissolve. The piece is shaped by interference\, emergent resonance\, and the physical behavior of sound in the room\, producing a shared acoustic field that changes moment to moment. \nAbout the artists\nJoshua Rodenberg is a sound and video artist based in Doha\, Qatar\, where he is Head of the Innovative Media Studios and Assistant Professor at Virginia Commonwealth University School of the Arts in Qatar. His practice connects art\, technology\, and environmental research\, translating natural oscillations and field data into live sonic and visual performance. In 2024 he received the VCU Quest Research Grant and participated in the Arctic Circle Artist Residency in Svalbard. His work has been presented internationally\, including the International Computer Music Conference in Boston\, Haus 1 in Berlin\, and EAI ArtsIT 2025 in Dubai. \nFumiaki Odajima is a Tokyo and Amami based artist working with multichannel pure sine waves\, just intonation\, and long timescale transformations to shape perceptual listening environments. He holds a BFA from The Ohio State University and an MFA from Virginia Commonwealth University. Recent projects focus on large scale sine wave diffusion\, exploring interference\, micro beating\, and sound as material at sensory thresholds. Selected performances include Synthesis at ART SPACE BAR BUENA in 2024 and Re:Synthesis at Safi Heimlichkeit Nikai in 2024\, and he released Icecream Daydreaming in 2020 with the improvisational unit kani kani club. \n  \nYue Zhang: Capture Un-Capturable\nCapture Un-Capturable is an interactive performance that integrates sign language with Mediapipe gesture recognition technology. Grounded in the notion that “sound is formless and sign language is silent\,” the work reimagines translation by placing sign language at the center of artistic expression. Drawing upon the metaphor of the “strobe camera” in sign language\, the piece captures and translates natural phenomena beyond the limits of human perception — from the surging magma within the Earth to the subtle sounds of water\, forests\, and rain in the outer spheres. By centering people with disabilities as both the creative core and source of inspiration\, the work transforms all audience members into equal participants\, enabling them to “listen” through gestures and “see” through sound — a cross-sensory experience where technology\, nature\, and human compassion converge. \nAbout the artist\nZhang Yue (b. 2002) is a member of the International Computer Music Association (ICMA) and the Electroacoustic Music Society of the Chinese Musicians’ Association. She is currently pursuing a master’s degree at the Wuhan Conservatory of Music.\nHer works have been selected for the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. Among them\, Flying with the Starlings received the Best Student Work Award at ICMC 2023. She has twice been awarded the Phil Winsor Young Composer Award at WOCMAT (2023\, 2024). Her works The Butterfly Revelation and The Lament of Plants won first prize in the electroacoustic category at the International Electroacoustic Music Competition (IEMC) in 2024 and 2025\, respectively. Her thesis received the Outstanding Bachelor’s Thesis Award at the Wuhan Conservatory of Music and was selected for the National Conservatory Graduate Academic Symposium. \n  \nDennis Scheiba: Cross talk: distributed feedback for mobile devices \nRecent developments in spatial audio have largely focused on fixed loudspeaker arrays or object-based rendering systems\, often implying a privileged listening position and reducing sonic space to a localized perspective of a sweet spot. This work instead questions whether object-based thinking can be redirected from optimizing a sweet spot toward adapting sound spatialization to the room and the bodies within it by using bi-directional audio streaming.\nUsing Stecker\, a custom-built streaming framework\, the microphones and loudspeakers of audience smartphones are accessed via WebRTC to form a distributed\, wireless feedback network. In this setup\, each participant becomes an active acoustic node\, and spatialization emerges from the physical arrangement\, proximity\, and interaction of devices rather than from predefined speaker layouts. The resulting feedback grid produces an embodied and continuously reconfiguring spatial field that blurs the boundaries between performer\, audience\, and sound diffusion. \nAbout the artist\nDennis Scheiba is an artistic and research associate at the Robert Schumann Hochschule Düsseldorf. He works as a composer\, live coder\, and audio-visual artist with a special interest in multi-spatiality and streaming technologies. He has performed at MIT\, Johns Hopkins University\, ZKM\, KUG\, and IRCAM.\nScheiba has a background in mathematics and machine learning and currently researches on audio-only VR environments\, JIT-compilation in DSP environments\, WebRTC streaming\, and packaging of audio-projects. \n  \nAnqi Liu and Han Zhang: these particles we immersed \nthese particles we immersed (2025) is a 50-minute multimedia live set that treats performance as an evolving ecology of touch\, signal\, and shared attention. Built around a DIY sensor instrument\, live electronics\, and real-time visual processing\, the work uses yarn as both material and method\, a soft architecture that binds bodies\, devices\, and projected image into a single\, unstable circuit. Rather than presenting sound and image as parallel layers\, the piece stages their continuous co-production\, where tactile tension\, proximity\, and micro-gestures become the conditions from which sonic and visual events emerge. \nAt the center of the work is translation\, understood not as a neutral bridge but as a set of thresholds that determine what becomes legible. Physical relations are translated into control and transformation\, then translated again into audible and visible behavior. Each translation clarifies and cuts at once; it amplifies certain forces\, pressure\, friction\, breath\, strain\, while compressing others that resist capture. The DIY sensor instrument foregrounds this politics of conversion by making mediation visible. It asks what is gained when embodied experience becomes data\, and what is lost when lived continuity is segmented into events that can be routed\, processed\, and displayed. \nThe system is designed to remain sensitive to failure modes\, noise\, drift\, latency\, and feedback\, not as problems to be corrected but as evidence of an environment acting back. The live electronics operate less as “effects” and more as a responsive habitat\, shaping the performers’ pacing and risk\, while being reshaped by their touch. The visual processing functions as another listening surface\, a reactive field that materializes tension and release\, accumulation and rupture\, making the translation chain perceptible as a changing image ecology. \nParticipation is embedded in the work’s method. Yarn creates a shared infrastructure that requires negotiation\, it constrains and enables simultaneously\, producing a relational dramaturgy of binding and unbinding. Decisions are distributed across bodies\, sensors\, algorithms\, and the room itself\, including its light\, resonance\, and attention economy. The piece treats the performance space as an active participant\, where the smallest shifts in gesture or position can tilt the system from stability into turbulence\, or from turbulence into fragile coherence. \nDeveloped during one of our Visiting Artist Scholar Designer Residencies\, these particles we immersed proposes a way of composing with thresholds\, where form is discovered through real-time negotiation among material\, technology\, and care.\nIn ICMC 2026\, we are flexible to perform this piece in any length as needed. \nAbout the artist\nāññā is an interdisciplinary performative duo formed by multimedia artists Anqi Liu and Han Zhang\, devoted to fluid\, cross-sensory\, and interrelational experiences. We play\, dream\, and create together—expanding the boundaries of perception and space. As lifelong collaborators\, we weave our diverse journeys into a shared artistic language: ski partners carving through mountains and rivers\, practitioners of occult metaphysics immersed in the I Ching and star charts.\nOur work is not merely a collaboration\, but a continuous merging of lives\, thoughts\, and psyches—an evolving dreamscape where creative boundaries dissolve and reassemble in perpetual transformation.\nHaving completed their BROILER Artistic Residency with Oracle Egg and the Visiting Artist Scholar Designer Residency at Rocky Mountain College of Art + Design\, āññā is currently releasing an experimental film with Music For Your Inbox\, Los Angeles\, and preparing for their upcoming show with Dog Star Orchestra in Los Angeles this June. Their debut album is also in progress. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-club-concert-6c-after-party/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:16-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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