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DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260424T123752
CREATED:20260421T095608Z
LAST-MODIFIED:20260421T095707Z
UID:10000145-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Alessandro Anatrini: "Faulty Oracle"
DESCRIPTION:Faulty Oracle is an adaptive audiovisual installation that conjures a gloriously unreliable divinatory machine. Visitors pose questions through body language: gestures\, movements\, postures which the system interprets\, misreads\, and willfully transforms. In return\, the oracle delivers cryptic animated answers\, flickering between epiphany\, nonsense\, and hallucination. Voices stretch\, fracture\, and echo over visuals that shimmer with unstable symbols\, offering responses that feel both prophetic and utterly broken.\nThe dialogue is a masterclass in miscommunication: questions are misinterpreted\, wrong ones are amplified\, and answers rarely align with intent. The oracle becomes a mirror of ambiguity\, where meaning emerges from error\, chance\, and interpretation rather than clarity.\nBy shifting interaction from language to the body\, Faulty Oracle gleefully dismantles any expectation of precision in human-machine exchange. It invites participants into a space of playful fallibility\, reframing prophecy as a dance of uncertainty and imagination. \nAbout the artist\nAlessandro Anatrini (1983) is a composer\, new media artist\, and developer with a background in musicology\, composition\, and electronic music. Completed a M.A. in multimedia composition at HfMT Hamburg and a PhD in artistic research focused on machine learning in adaptive multimedia environments. His work has\nbeen presented by Ensemble Intercontemporain\, Klangforum Wien\, Symphoniker Hamburg and at festivals including Manifeste\, HCMF\, Impuls\, and Blurred Edges. Frequently invited to speak at conferences such as SMC\, TENOR\, and AIMC. Collaborates with institutions like UdK Berlin and the Digital Stage Foundation. Lecturer on machine learning topics at HfMT since 2018\, from 2024 he is Professor of Multimedia at the Conservatorio of Piacenza (Italy). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-alessandro-anatrini-faulty-oracle-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260424T123752
CREATED:20260421T100042Z
LAST-MODIFIED:20260423T171644Z
UID:10000138-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:A camera installed on a balcony captures the live sky\, converting it into generative sound in real time. The trajectories of birds crossing the frame are translated into piano tones\, forming unpredictable melodies. The time spent watching the sky—waiting for the next sound—becomes part of the work. \nAbout the artist\nDahye Seo (b. 1985\, South Korea) is a multimedia artist based in Berlin. She explores the movement of living organisms and environmental phenomena through sound\, data\, and interactive installations\, creating immersive experiences that bridge perception and natural patterns. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-dahye-seo-unscored-4/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260424T123752
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200021Z
UID:10000189-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Pasquale Savignano: "SURROUNDINGS"
DESCRIPTION:SURROUNDINGS is a site-specific sound installation that transforms walking\, listening\, and spatial memory into a continuously unfolding sonic environment. The work is built from GPS-tracked field recordings captured through attentive movement in and around the exhibition site. These recordings are not presented as documents of place\, but as living material that is reactivated\, displaced\, and rewoven within the space itself.\nFour loudspeakers are distributed across the site\, defining a navigable field rather than a fixed listening position. Sound moves between them following the original trajectories of the recorded walks\, scaled and reoriented to fit the architecture or landscape of the installation. The visitor’s experience emerges from this superposition of paths: multiple sonic traces coexist\, intersect\, expand\, and dissolve\, producing a dynamic impression of the surroundings rather than a literal representation.\nThe installation focuses primarily on keynote sounds – the persistent acoustic textures that shape everyday environments – rather than on spectacular or foregrounded events. Through subtle processing derived from convolution\, filtering\, and granular techniques\, these sounds are stretched and smoothed\, allowing their timbral essence to surface while remaining closely tied to their original context. At times\, lightly processed documentary sounds emerge\, blurring the boundary between the audible present and the remembered past.\nListening unfolds through movement. Visitors are free to walk\, pause\, or circle the space\, allowing their perception to shift between the installation\, the actual soundscape\, and their own internal listening. The work does not impose a narrative or a fixed duration; instead\, it offers a continuous temporal flow that mirrors the rhythms of walking and environmental change.\nVisually\, the installation remains restrained and functional. Loudspeakers and cabling are integrated into the space in a manner that suggests infrastructure rather than spectacle\, reinforcing the idea of sound as an environmental layer rather than an object. The result is a non-disruptive intervention that operates near the threshold of audibility\, encouraging a heightened awareness of place.\nSURROUNDINGS proposes listening as a form of situated knowledge: an embodied practice through which space is not only perceived\, but actively composed. \nAbout the artist\nPasquale Savignano (1/5/1994) is a sound artist and composer working with field recordings and digital sound processing to explore the boundaries of physical and sonic space in various fields: electroacoustic music\, improvisation\, video art\, sound and multimedia installations. His research moves mainly between the flux of\nrelationships and interferences in the soundscape. His works have been presented internationally in galleries\, public spaces and festivals\, such as Angelica International Music Festival\, Pulsar Festival\, Echoes Around Me\, Festival di Nuova Consonanza\, Tempo Reale Festival\, Xing\, Archivio Aperto\, ArtCity\, Hyperlocal Festival\, Experimance Festival\, ICMC\, ToListenTo\, and others. He has collaborated and performed with artists such as Alvin Curran\, Francesco Giomi\, Elio Martusciello\, Maria Hassabi\, Elvin Brandhi\, Jacopo Benassi\, Marcello Maloberti\, Daniela Cattivelli\, Alessandro Bosetti\, Muna Mussie\, Francesco Cavaliere and many\nothers. He is currently pursuing a PhD in Sound&Music Computing and Cultural Heritage at Conservatorio di Musica G. Verdi di Torino and collaborates with Xing (Bologna – IT) and Marcello Maloberti Studio (Milano – IT). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-pasquale-savignano-surroundings-4/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260424T123752
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200713Z
UID:10000194-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Bill Parod & Teresa Parod: "The Elephants of Trianon"
DESCRIPTION:The Elephants of Trianon is an augmented-reality audiovisual installation that extends a series of public murals into an interactive spatial sound environment. The original work consists of ten adjacent murals painted on garage doors in a public alley in Evanston\, Illinois\, USA. These form part of a larger international body of public work by the artist\, Teresa Parod. For the International Computer Music Conference\, the project is presented as a free-standing installation at TU Hamburg-Harburg using large construction-fence banners which approach the full-size of the garage door murals. \nUsing a custom mobile app\, visitors’ devices recognize each mural and anchor a corresponding three-dimensional audiovisual scene in space. As visitors move through the installation and activate additional murals\, their scenes accumulate and blend\, creating a continuously evolving environment\, rather than a sequence of isolated works. The installation therefore functions as a spatial composition shaped by listener movement\, attention\, and duration of engagement. \nThe soundscape combines field recordings made in Bali\, New Orleans\, and Chicago with instrumental layers and voices in ten languages. Animated three-dimensional forms—birds\, bats\, dogs\, elephants\, rabbits\, and celestial figures—appear among the murals\, along with subtle video textures and custom shaders that bring painted elements into motion. Some virtual elements are not confined to a single mural but move throughout the installation space\, responding to the physical layout and dimensions of the exhibition environment. \nThe project suggests a scalable model for mobile\, spatially responsive sound installations in galleries and public spaces. The software framework and mobile application used in The Elephants of Trianon have been developed through prior public installations and gallery presentations and are designed to function across a range of exhibition formats\, from outdoor murals to indoor projection and free-standing display structures. The ICMC installation demonstrates how augmented reality can be used not only as a visual medium\, but as a platform for spatial audio composition and listener-driven musical form. \nAbout the artists\nBill Parod (b. 1954\, Chicago USA) is a composer\, improviser (violin)\, and software developer who works on interactive spatial music\, audio poetry\, image reactive augmented reality\, and living music mobile apps. His work has appeared in Chicago at Elastic Arts\, Experimental Sound Studio\, and the Jay Pritzker Pavilion; Burning Man\, Nevada USA; New York University NYC\, and Ircam in Paris\, France. My music is available as mobile apps in the Apple AppStore. \nTeresa Parod (b. 1957\, Alton IL\, USA) paints vibrant\, luminous oil paintings and murals\, celebrating life through dichotomies such as light and shadow\, warm and cool and complementary colors. Her landscapes invoke mythological destinations inviting the viewer to journey there.\nShe has created over one hundred works of public art in the United States\, Cuba\, Bali\, Nepal\, and Istanbul. In Cuba\, she was honored to work with mosaicist José Fuster\, whose work inspired her creation of art in unexpected and underused spaces.\nShe lives in Evanston\, Il with her husband\, Bill Parod. Together they have collaborated on several exhibitions and performances and multichannel visual and musical art.\nShe also teaches art history at Oakton college\, does an annual century bike ride and studies and performs classic Indonesian dance. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-bill-parod-teresa-parod-the-elephants-of-trianon-4/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T110000
DTEND;TZID=Europe/Amsterdam:20260514T180000
DTSTAMP:20260424T123752
CREATED:20260421T192335Z
LAST-MODIFIED:20260421T200015Z
UID:10000200-1778756400-1778781600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Leon Eckard: "Urban Metabolism: der Mond"
DESCRIPTION:TBA \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-leon-eckard-urban-metabolism-der-mond/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T120000
DTEND;TZID=Europe/Amsterdam:20260514T140000
DTSTAMP:20260424T123752
CREATED:20260415T122311Z
LAST-MODIFIED:20260417T115252Z
UID:10000122-1778760000-1778767200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Rehearsal & Concert Visit for Families
DESCRIPTION:Photo: Max Henschel\n  \nWhat does contemporary music sound like? What happens during the rehearsals? And what challenges might occur? We’ll look into these questions during rehearsal and concert visit for families.  \nFor families with children aged 7+\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-rehearsal-concert-visit-for-families/
LOCATION:Hamburg University of Technology (TUHH)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260424T123752
CREATED:20260421T162627Z
LAST-MODIFIED:20260423T122046Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \n  \nProgram Overview\nULYSSES II\nRoberto Cipollina and Eleonora Podestà \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nconfim\, assim\, sem fim\nRodrigo Pascale \nThe Water lily in the blaze\nNatsuki Kambe \nLa Nuit Bleue\nZhixin Xu and Yunze Mu \n  \nAbout the pieces & artists\nRoberto Cipollina & Eleonora Podestà: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nEleonora Podestà \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n  \nYao Hsiao: Empress Luo\nxxx \nAbout the artist\nxxx \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artist\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \n  \nNatsuki Kambe: The Water lily in the blaze \nI attempted to compose a piece that makes use of the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, I further explored new sounds through live electronics.\nThe low register conveys a powerful\, flame-like energy. The high register\, produced through flageolet harmonics\, has a beautiful tone with a delicate charm reminiscent of water lilies. These two contrasting elements are brought together into a single image: a burning sunset reflected on a pond\, and water lilies blooming in its shadow.\nIn Max\, I used TR.lib by Professor Takayuki Rai. Throughout the piece\, grbFM is used extensively: in the low register it generates noise such as quarter tones\, while in the high register it creates chordal textures inspired by the Japanese traditional wind instrument shō.\nI would like to express my heartfelt gratitude to Professor Takayuki Rai for the many valuable suggestions he provided during the creation of this work. \nAbout the artist\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \n  \nZhixin Xu and Yunze Mu: La Nuit Bleue\nLa nuit bleue is a piece written for solo harpsichord and live electronics. After three years of harpsichord study\, I had a strong thought in my mind that write a piece for harpsichord and live electronics. After the spectral analysis of the harpsichord sound as well as look through some pieces like Saariaho’s Jardin Secret II and Cage’s HPSCHD\, I realized that live spectral processing of this kind of idiophonic sound would be a big challenge because of the broad frequency distribution in spectrum. So\, I decided to use both fixed sounds and live processed sounds in the electronic part. Jardin Secret II and HPSCHD inspired me a lot while looking for sounds for electronics. Both of them contain noisy and glitchy sound in the tape part which are homogenies to harpsichord sound in some aspect\, although somehow radical for the time they were composed\, they worked well for harpsichord sound. With this idea\, I set the tone of the timbral character for this piece. \nAbout the artist\nZhixin Xu is a composer\, sound artist and computer music researcher based in Shanghai\, China. His compositions often involving electronics\, sometimes generated by the software he develops. Much of his recent music has been focused on exploring how purely computer-generated sound materials can be used along with musical instruments and purely acoustic sounds. His music and multimedia works have been heard in the U.S\, Europe and Asia on many events including ICMC and SEAMUS conferences.\nXu holds a Doctor of Musical Arts degree from the University of Cincinnati’s College-Conservatory of Music where he studied with Mara Helmuth\, and earlier degrees from CCM and the Shanghai Conservatory of Music. He is now assistant professor at Shanghai Jiao Tong University. His compositions are available on the ABLAZE label. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260424T123752
CREATED:20260423T155810Z
LAST-MODIFIED:20260423T155923Z
UID:10000202-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Mittagskonzert #004 zur ICMC HAMBURG 2026
DESCRIPTION:Dieses Mittagskonzert markiert einen herausragenden Moment der Zusammenarbeit zwischen der lokalen Hamburger Musikszene und internationalen Komponist:innen. Besondere Highlights sind zwei Uraufführungen\, die eigens für den renommierten Hamburger Kontrabassisten John Eckhardt geschrieben wurden. Eckhardt\, bekannt für seine Grenzgänge zwischen Neuer Musik und Sound Art\, lotet hier die klanglichen Extreme seines Instruments im Dialog mit dem Computer aus.  \nNeben dem Kontrabass-Schwerpunkt erwartet das Publikum eine Reise von der „Elektroakustischen Romantik“ bis hin zu KI-gesteuerten Geigenimprovisationen.  \n   \nProgramm (Änderungen vorbehalten) \nULYSSES II\nRoberto Maria Cipollina:\n \nOne Week\nHenrik von Coler\n \nEmpress Luo\nYao Hsiao\n \nconfim\, assim\, sem fim\nRodrigo Pascale\n \nThe Water lily in the blaze for Double Bass and computer\nNatsuki Kambe\n \nLa Nuit Bleue\, for harpsichord and live electronics\nZhixin Xu and Yunze Mu\n \n  \nTickets\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-mittagskonzert-004-zur-icmc-hamburg-2026/
LOCATION:Technische Universität Hamburg\, Gebäude I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T153000
DTEND;TZID=Europe/Amsterdam:20260514T160000
DTSTAMP:20260424T123752
CREATED:20260421T143705Z
LAST-MODIFIED:20260421T143727Z
UID:10000094-1778772600-1778774400@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Psyche Loui: Scales for Predictions\, Creativity\, and Music-Based Interventions
DESCRIPTION:  \nMusic unites listeners through shared predictions and reward. At the heart of this process is the musical scale—a designed object that quantizes pitch into structures capable of generating and fulfilling expectation. A survey of the world’s scales reveals five core design features and a single overarching dimension of enculturation\, ranging from deeply familiar tonal systems to entirely novel sonic environments. The Bohlen-Pierce (BP) scale occupies a unique position in this multidimensional space: combining a non-octave equivalence interval with near-zero enculturation\, it sits at the intersection where the need for rigorous enculturation research is most acute. Harnessing the capacity of the BP scale to generate genuinely new predictions\, this talk presents behavioral and neuroscience findings from the MIND Laboratory examining how children and adults across different countries acquire musical structure from an unfamiliar system. Results illuminate the developmental trajectory of statistical learning\, the neural signatures of prediction error\, and the timescales over which aesthetic preferences emerge from exposure. Beyond perception\, the BP scale serves as a test bed for studying creative cognition\, enabling novel assessments of musical improvisation and imagination. The talk closes by connecting these findings to clinical applications\, considering how principles of enculturation and prediction inform optimal dosage design for music-based interventions targeting cognition and brain health.   \n  \nPsyche Loui\nPsyche Loui is Associate Professor of Music and Psychology at Northeastern University\, where she directs the MIND (Music\, Imaging\, and Neural Dynamics) Lab and serves as Associate Dean of Research in the College of Arts\, Media and Design and Associate Director of the Institute for Cognitive and Brain Health. She brings a unique perspective to music research as both a neuroscientist and performing violinist\, bridging experimental rigor with artistic practice. Loui’s research explores how the brain learns\, processes\, and creates music\, with particular emphasis on using artificial musical systems as controlled laboratories for understanding neural mechanisms. Her pioneering work with the Bohlen-Pierce scale—a microtonal system based on the tritave rather than the octave—demonstrates how novel tuning systems can reveal fundamental principles of musical learning\, prediction\, and pleasure. By creating controlled compositional experiments that exist outside of Western tonal traditions\, she illuminates how brains adapt to unfamiliar sonic worlds and what this reveals about music cognition more broadly. Loui directs the MIND Lab (Music\, Imaging\, and Neural Dynamics laboratory) which combines cutting-edge neuroscience methods (fMRI\, EEG\, diffusion tensor imaging) with computational approaches including machine learning and natural language processing to decode musical experience. Recent work investigates how people generate mental imagery in response to music\, revealing that seemingly idiosyncratic imaginings are often broadly shared across listeners. She has developed novel computational tools to analyze free-response descriptions of music listening\, enabling robust empirical study of subjective experiences previously considered intractable. Loui’s research extends from fundamental discovery to clinical translation. Her work on gamma-enhanced music interventions for Alzheimer’s disease leverages technological advances in sound synthesis to create therapeutic applications\, supported by multiple NIH grants. She has secured over $6 million in external funding\, including an NSF CAREER award for her work on artificial musical systems. \nLoui plays violin in Boston’s Longwood Symphony Orchestra\, advises the Boston Landmarks Orchestra\, and plays banjo and mandolin in a chamber music/indie rock ensemble. She is also author of the forthcoming book Strange Scales: How Novel Music Reveals the Secrets of the Predictive Brain (MIT Press) and co-editor of Science-Music Borderlands (MIT Press\, 2023)\, which won the Ruth A. Solie Award from the American Musicological Society. Her work has appeared in leading journals including Psychological Science\, Journal of Neuroscience\, NeuroImage\, and Cognition\, and has been featured in The New Yorker\, New York Times\, BBC\, and NPR. \nLoui serves as President-Elect of the Society for Music Perception and Cognition and Associate Editor of Cognition. She holds a PhD in Psychology from UC Berkeley and dual bachelor’s degrees in Psychology and Music from Duke University. \nMore about Psyche Loui here. \n  \n  \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-psyche-loui-scales-for-predictions-creativity-and-music-based-interventions/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T170000
DTSTAMP:20260424T123752
CREATED:20260415T142150Z
LAST-MODIFIED:20260423T194821Z
UID:10000098-1778774400-1778778000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 9: Music & Health
DESCRIPTION:Two papers will be presented and discussed:\n\n  \nSophie Rose: “CALM: Translating Somatic Experience into Compositional Structure as a Trauma-Informed Methodology”\nMore info to follow\nYunze Mu\, Lorna Segall and Zhixin Xu: “Acoustic Interactive Sand Tray Therapy System: An Em-bodied Interface for Multisensory Sound Interaction”\nMore info to follow \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-9-music-health/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T160000
DTEND;TZID=Europe/Amsterdam:20260514T173000
DTSTAMP:20260424T123752
CREATED:20260421T112429Z
LAST-MODIFIED:20260423T174523Z
UID:10000160-1778774400-1778779800@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Robert Cole Rizzi: The Art of Listening – To Hamburg. A Participatory Soundwalk Workshop
DESCRIPTION:How does the world sound when we truly listen? In this participatory workshop\, participants explore their sonic environment through attentive listening\, simple drawing\, poetry\, and playful composition — no musical experience required. \nThe workshop begins with a guided soundwalk\, where participants listen closely to everyday sounds while also making small line drawings based on visual details in the environment\, such as skylines\, patterns\, trees\, or bushes. Back indoors\, the listening experiences are transformed into short poetic texts\, and the drawings are translated into music using mechanical music boxes.\nThe workshop offers an accessible and hands-on introduction to sound-based creativity\, showing how artistic processes can emerge from listening\, observation\, and simple materials. Developed over more than ten years at the Danish National Academy of Music (SDMK)\, the format has been tested with a wide range of participants\, from schoolchildren to professional artists. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitator\nRobert Cole Rizzi is an assistant professor at the Danish National Academy of Music (SDMK) in Esbjerg\, where he teaches electronic music and sound art. His work focuses on making creative sound practice accessible to everyone\, developing pedagogical methods that welcome participants without requiring musical or technical prerequisites.\nAs a practicing artist working with sound\, visual art\, and experimental music technology\, Robert collaborates internationally with institutions such as the Prince Claus Conservatoire in the Netherlands\, and the Technische- and Musikhochschule in Lübeck. His artistic research explores how nature’s movements and traces can become sources for audiovisual composition\, using techniques from field recording to biodata sonification.\nRobert has spent the past decade developing and refining the “Impression – Imprint – Expression” methodology presented in this workshop. It has been successfully implemented with primary school students\, conservatory composition students\, public library visitors\, and museum participants across Denmark. His approach demonstrates that everyone can engage meaningfully with sound art when given accessible tools and encouragement to experiment. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-robert-cole-rizzi-art-listening-hamburg-soundwalk/
LOCATION:Hamburg University of Technology\, Building H (H 0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260424T123752
CREATED:20260421T133619Z
LAST-MODIFIED:20260421T133619Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Lars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \nPia Preissler und Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \nMiriam Akkermann: TBA\nAbout the panelist\nMiriam Akkermann conducts research on music of the 20th and 21st centuries\, computer music and music technology\, digital musicology\, musical performance practice and music archiving\, as well as the study of the effects of music on sleep. She received her PhD from the Berlin University of the Arts in 2014 and completed her habilitation at the University of Bayreuth in 2023. Since April 2024\, she has held the Ernst von Siemens Music Foundation Professorship at Freie Universität Berlin. \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \nLi Xiaobing: An Introduction to Recent Advances in Music AI\nThis lecture will provide a systematic exploration of the profound impact of artificial intelligence on music creation\, performance\, and reception. It will highlight cutting-edge developments\, including automatic composition systems\, music foundation models\, singing voice synthesis\, robotic music performance\, and research at the intersection of music and brain science. \nBuilding on this\, the lecture will further analyze how AI influences various sub-disciplines of music\, demonstrating that its role has expanded beyond technical applications to reshaping disciplinary structures and research paradigms. The lecture will emphasize that AI is not merely an auxiliary tool\, but a key force driving the transformation of music education systems and the music industry. \nAs AI technologies continue to advance\, the modes of music production and dissemination are undergoing fundamental changes. In addition\, from philosophical and aesthetic perspectives\, the lecture will examine how AI is reshaping mechanisms of musical expression and aesthetic judgment\, prompting a rethinking of the nature of art and the role of the creative subject\, and ultimately leading to a systematic restructuring of the discipline of music as a whole. \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:http://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T180000
DTEND;TZID=Europe/Amsterdam:20260514T190000
DTSTAMP:20260424T123752
CREATED:20260415T122709Z
LAST-MODIFIED:20260421T201118Z
UID:10000123-1778781600-1778785200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Radioballett | Körperfunkkollektiv: "Fragment"
DESCRIPTION:Photo: Felix Konerding\n  \nRadioballett is an interactive performance that draws you into another world through wireless headphones\, where you and other participants can actively shape the space together.  \nThe piece “Fragment” explores the boundaries between private and public life through human experiences in both real and virtual worlds. It invites everyone to reflect on the balance between digital and “offline” existence and to engage with the interplay between social interaction and online networks. \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-radioballet-korperfunkkollektiv-fragment/
LOCATION:Town Hall Square Harburg\, Harburger Rathausplatz 1\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260424T123752
CREATED:20260421T163025Z
LAST-MODIFIED:20260422T124019Z
UID:10000096-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 4B
DESCRIPTION:Concert 4B presents the full range of contemporary computer music in a chamber ensemble setting. Ensemble 404—Hamburg’s specialists in new music—navigates a program that spans highly spatialized sound worlds to audiovisual metamorphoses.\nExperience how physical instruments meet the precision of algorithms\, creating new hybrid identities in the process. \n  \nProgram Overview\nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nAbout the pieces & artists\nLidia Zielinska: Kryptobioza\nCryptobiosis is a reversible\, temporary state of extreme reduction in life activities of a composer\, as a response to unfavourable environmental conditions. \nAbout the artist\nLidia Zielinska (*1953) – Polish composer\, professor-emeritus of composition and director of the Electroacoustic Music Studio at the Poznan Academy of Music; numerous awards for orchestral\, multimedial\, electroacoustic works; books\, papers\, guest lectures\, summer courses in Europe\, both Americas\, Asia\, New Zealand; vice-president of the Polish Society for Electroacoustic Music. \n  \nZihan Wang: Tide\, breath\nThis work integrates spatialised fixed-media electronic music with semi-improvised acoustic instrumental performance. Animated scores and sound scores are employed to guide performers and to synchronise their actions with the electronic sections. The compositional focus is spatial counterpoint which extending the interplay of traditional contrapuntal voice relationships into three-dimensional space. This approach generates perceptible parallels\, interweaving\, imitation\, and conflict between instrumental and electronic elements through the parameters of position\, distance\, diffusion\, and timbre. Spatial attributes therefore function as primary compositional parameters rather than post-production effects.\nThe work is inspired by reflections on the macro and micro-structures of two kinds of sound: human crowds and natural environments. Through extensive field recording\, I observed a shared underlying principle: both soundscapes arise from the continuous accumulation and interaction of innumerable micro-sonic events\, producing macro-level shifts in energy\, fluctuations in density\, and emergent directional tendencies. For example\, footsteps\, conversations\, breathing\, and whispers in a crowd collectively form an ever-shifting granular timbre. Similarly\, natural sounds such as rain\, wind\, rivers\, and flocks of birds can exhibit comparable behaviours. This work seeks to establish a perceptual and structural connection between these two sound worlds through electronic composition. \nAbout the artist\nZihan Wang is an electroacoustic music composer\, film composer\, and sonic artist. He is currently a post graduate research student at Monash University\, Melbourne\, Australia\, where his work investigates compositional strategies for ambisonics-based environments. His research engages with Robert Normandeau’s concept of timbre spatialisation and Denis Smalley’s theory of spectromorphology\, with a particular emphasis on timbre\, spatial articulation\, and electroacoustic composition. His creative practice includes fixed-media electroacoustic works\, sound installations\, animated score composition\, and film scoring. His work has been presented at venues and conferences including TENOR 2025 and the Melbourne International Film Festival (MIFF). \n  \nHoward Kenty: Everybody Loves Me\n“Everybody Loves Me” is a piece for voice\, percussion\, and live electronics that takes the words of Donald Trump as its only source material to depict a hellish kinetic nightmare. For this incarnation\, I would be the vocal performer\, and control the electronics onstage. I would need a percussion performer and the percussion itself to be provided by the festival. \nAbout the artist\nHowie Kenty is a Brooklyn-based composer and performer\, occasionally known by his musical alter-ego\, Hwarg. His music\, called “remarkable” with “astonishing poetic power” (Intl Compendium Prix Ars Electronica)\, is stylistically diverse\, encompassing ideas from contemporary classical\, electronic\, rock\, and ambient genres\, as well as sound art\, political issues\, and visual and theatrical elements. Howie is an Assistant Professor in Studio Composition at Purchase College. Listen at http://www.hwarg.com. \n  \nNaotoshi Osaka: Present-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nIto Jakuchu (1716–1800) was a mid Edo period Japanese painter renowned for his brilliantly colored depictions of plants and animals. I have long been fascinated by his works. There was a time when I myself collected butterflies\, and I was deeply captivated by the designs and patterns on their wings. This piece is inspired by those wing patterns\, transforming their visual designs into musical imagery. Jakuchu also painted butterflies\, and with the idea of composing as if I myself were Jakuchu painting a picture\, I titled this work as part of my “Present-Day Jakuchu” series.\nWhen visual and auditory perception are viewed at a higher level of abstraction\, they share many common qualities. In this work\, the visual impressions of the butterfly are linked to the sounds and musical structure.\nInachis io (The European Peacock Butterfly) has eye spot patterns on a reddish brown ground\, reminiscent of a peacock’s feathers\, which gives the species its name. Although it is not found in North America\, South America\, or Oceania\, it is widely distributed across the Eurasian continent\, including Europe and Asia. Many butterflies of the Nymphalidae family are elegant in appearance\, and this species is no exception; it can be seen in many places. In the composition\, I developed the music around two motifs: the background coloration and the eye spot patterns. Unlike my previous work\, this piece does not depict flight or resting behavior; instead\, it focuses solely on the coloration and patterns visible when the wings are fully spread.\nThis piece was originally written in 2023 for violin and piano. For this performance\, it has been newly expanded with an added electroacoustic part\, making this the premiere of the updated version. The electroacoustic materials were created as fixed media\, primarily using granular synthesis and FM synthesis. However\, the sound files are structured as passage level cues\, and their playback timing is performer controlled and triggered in real time. \nAbout the artist\nNaotoshi Osaka received his Master’s degree from Waseda University and\, after working at NTT Laboratories\, has pursued research and composition in electroacoustic music. His works have been selected for the ICMCfive times\, and for the New York City Electroacoustic Music Festival (NYCEMF)three times. He served as President of the Japan Society for Sonic Arts (JSSA) from 2009 to 2018. He is currently a research fellow at Waseda University and Tokyo Denki University\, holds a Ph.D. in engineering\, and is Professor Emeritus at Tokyo Denki University. \n  \nYixuan Zhao: Coming and Vanishing  \nComing and Vanishing is an Audiovisual work for solo flute and electronics that explores a transient and unstable phenomenon.\nThe flute interacts closely with the electronic layer through air sounds\, breath tones\, and extended techniques. Pitch and noise are deliberately blurred\, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths\, materials detached from linguistic meaning. Through subtle layering and diffusion\, the voices lose semantic clarity and become abstract sonic matter. Acoustic and electronic sound exist in a continuous state of mutual negotiation\, shaping and destabilizing one another in real time.\nThe visual draws inspiration from traditional Chinese landscape painting while incorporating a surrealist sensibility. Through gradual transformations of light and shadow\, the imagery reveals and amplifies microscopic details within the sound. Rather than illustrating the music\, the visuals function as a parallel perceptual layer\, extending the listening experience into a spatial and visual field.\nSound and visual are not merely layered media\, but revealing a dynamic process\, existing only within the persistent tension between appearance and disappearance\, presence and loss\, immediacy and dissolution. \nAbout the artists\nComposer: ZHAO Yixuan is a composer\, a lecturer at the Dept. of Music AI and Music Information Technology\, Central Conservatory of Music\, China\, and a visiting researcher at the Royal Birmingham Conservatoire\, UK.\nShe has been dedicated to exploring the practice of digital audio and artificial intelligence in music composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music\, electroacoustic music\, contemporary music\, and new media art. \nVisual Designer: WU Shuangqi (/’su:ki/) is an inter-media creator and visual-physical experimenter engaged in visual media\, contemporary theatre\, physical improvisation\, visual design\, sound\, audiovisual\, photography\, editing\, etc.\nHer creations are mainly based on physical experience\, deconstructing and visually outputting the body and external information\, intending to explore the assembly\, pattern\, motivation and form in the algorithms of flesh and behaviour\, to gain extension in perversion and mutation. \n  \nJavier Alejandro Garavaglia: Zusammenspiel I\nElectroacoustic composition in which a live viola and a live clarinet (in A) are combined with spectral digital DPS effects and multi-channel spatialisation in 8.1 surround sound. The latter applies Ambisonics (4th order) in real-time added to a system developed by the composer and documented in several international papers and articles (including MIT’S Computer Music Journal). \nAbout the artist\nAward-winning composer\, violist\, sound artist and retired university music professor with a broad and interdisciplinary approach to digital art and related technologies. His work focuses primarily on various aspects of music/sound composition and performance supported by computing\, with a constant search for new sonic experiences combining new developments in computer-aided sound synthesis\, live interaction\, extended instrumental techniques and sound spatialisation. Compositions are performed/broadcast in Europe\, America and Asia in world-renowned concert halls/broadcasters and include electroacoustic music (acousmatic\, interactive\, multimedia)\, instrumental music (e.g.\, solo instrument\, ensemble & orchestra) and sound art (e.g.\, installations). Plenty of his acousmatic music can also be found on commercial CDs by Edition DEGEM\, Cybele\, EMF\, etc. \nInfo: https://tinyurl.com/JavierGaravaglia \n  \nDanni Zhao and Congren Dai: Vesscape\nThis work repeatedly performs the same action: pouring sound into a hollow system. \nThe breath of the flute is not treated as lyrical material\, but as a continuously failing act\, namely\, blowing\, gasping\, breaking\, and losing control. Pitches emerge again and again\, yet never settle. The electric bass introduces low-frequency pressure and inertia\, an irresistible downward pull that keeps the entire sound field at the edge of overload. \nA live electronic system analyses the performed sound using AI\, distributing features such as breath\, impact\, and pitch deviation across multiple “vessel” sound sources and visual entities. In its touring performance version\, the original vessel installation has been translated into an 8.1 spatial audio field\, allowing the acoustic presence and directional behavior of the vessels to be simulated through multichannel diffusion. These vessels are not metaphors for containers; they function as receivers of pressure\, being filled\, stretched\, and forced into vibration. The harder the music pushes\, the more unstable the vessels become; when the performer attempts to regain control\, the system exposes even more fractures. \nThe structure begins with an almost violent injection of energy\, gradually shifting into a direct confrontation between body and object. Unstable registers and microtonal deviations are continuously amplified; rhythm is fragmented into dense\, short bursts of broken gestures\, until the system briefly collapses. In the end\, sound is exhausted\, leaving only residual breath and unfinished pitch afterimages. \nThis is not a work about “generation”. It is a sustained experiment in pressure\, control\, capacity\, and limits. The system never truly responds to the performer; it merely records how pressure fails\, again and again. \nAbout the artists\nDanni Zhao is a Chinese composer and electronic music artist. She studies Electronic Music Composition at the Central Conservatory of Music\, where she received the National Scholarship and recommendation for postgraduate study. Her works have won awards at international composition and electronic music competitions and have been presented at events such as ICMC and major music festivals. She is active in concert music\, film\, documentary\, theatre\, and game scoring. \nCongren Dai is a PhD candidate at the Central Conservatory of Music\, specialising in Music AI. He holds an MRes in AI and Machine Learning from Imperial College London and an MSc in Data Science from King’s College London. Having interned in computer vision at Google and engaged in music AI projects at Huawei\, he now applies Large Language Models to musical score understanding and instrument recognition in his research\, alongside contributions to continual learning. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-4b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260424T123752
CREATED:20260423T130335Z
LAST-MODIFIED:20260423T160359Z
UID:10000206-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #003 zur ICMC HAMBURG 2026
DESCRIPTION:Ensemble 404 & Die Ästhetik des Widerstands \nDieser Konzertabend präsentiert die gesamte Bandbreite zeitgenössischer Computermusik in kammermusikalischer Besetzung. Das Ensemble 404 – Spezialist für neue Musik in Hamburg – navigiert durch ein Programm\, das von hochgradig spatialisierten Klangwelten bis hin zu audiovisuellen Metamorphosen reicht.  \nErleben Sie\, wie physische Instrumente auf die Präzision von Algorithmen treffen und dabei neue\, hybride Identitäten erschaffen.  \n  \nProgramm (Änderungen vorbehalten) \nKryptobioza \nLidia Zielinska\n \nTide\, breath \nZihan Wang\n \nEverybody Loves Me \nHoward Kenty\n \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io” for violin\, piano\, and electroacoustics \nNaotoshi Osaka\n \nComing and Vanishing \nYixuan Zhao\n \nZusammenspiel I \nJavier Alejandro Garavaglia\n \nVesscape\nDanni Zhao and Congren Dai\n \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-003/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T193000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260424T123752
CREATED:20260421T194433Z
LAST-MODIFIED:20260423T122758Z
UID:10000199-1778787000-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Cinema
DESCRIPTION:TBA \n 
URL:http://icmc2026.ligeti-zentrum.de/event/cinema/
CATEGORIES:14-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T213000
DTEND;TZID=Europe/Amsterdam:20260514T233000
DTSTAMP:20260424T123752
CREATED:20260421T163434Z
LAST-MODIFIED:20260423T122902Z
UID:10000069-1778794200-1778801400@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 4C
DESCRIPTION:Program Overview\nMerzmania\nGintas Kraptavicius \nImprovisation for Spheres \nCalvin McCormack \nMarsia 3\nJonathan Impett \noscheat\nMoritz Wesp\, Eric Haupt and Victor Gelling \nThe Skin of the Earth: Fragments\nPaulo C. Chagas \nThe Long Now III \nCat Hope and Juan Parra Cancino \nTape Speed and Feedback\nAndrew Loveless \n  \nAbout the pieces & artists\nGintas Kraptavicius: Merzmania\nElectroacoustic live electronics performance made using my own created instrument made from computer\, Plogue Bidule software & midi controller assigned to VST plugins. All software parameters controlled\, altered live in a real time during performance using knobs & sliders of midi controller attached to VST plugins parameters. Performance made from synthesized sounds\, no samples or before recorded sounds as fields’ recordings are used. Merzmania it is piece connecting classical music skills with today noise music (slight allusion to noise icon – Merzbow). Merzmania main playing method is real time interaction with computer which i am using on all my live compositions. I am using Computer as Music Instrument just like any other acoustic music instrument. Like a guitar. Onstage i get the same emotional feeling playing with computer as playing with any other acoustic/electric instrument. Main thing in a live performance it is energy and emotion to the pot like to rock’n’roll concerts. Merzmania featuring the motif of the Lithuanian folk song “Teka\, teka šviesi saulė” (“The sun is rising\, the bright sun is rising”). \nAbout the artist\nGintas K (Gintas Kraptavičius) a Lithuanian sound artist\, composer living and working in Lithuania.\nNowadays Gintas is working in the field of digital experimental and electroacoustic music\, making music for films\, sound installations. His compositions are based on granular synthesis\, live electronic\, hard digital computer music\, small melodies. Collaborations with sound artists @c\, Paulo Raposo\, Kouhei Matsunaga\, David Ellis and many others. He has released numerous of records on labels such as Cronica\, Baskaru\, Con-v\, Copy for Your Records\, Bolt\, Creative Sources\, Sub Rosa and others.\nSince 2011 member of Lithuanian Composers Union. He has presented his works\, performed at various international festivals\, conferences\, symposiums as Transmediale.05\, Transmediale.07\, ISEA2015\, ISSTA2016\, IRCAM forum workshop 2017 \, xCoAx 2018\, ICMC2018\,ICMC2022 ICMC2025 ICMC-NYCEMF 2019\, NYCEMF 2020 \, NYCEMF 2021\, NYCEMF 2022\, NYCEMF 2023\, NYCEMF 2024\, NYCEMF 2025\, Ars Electronica Festival 2020\,. Ars Electronica Festival 2023 Ars Electronica Festival 2024 . IRCAM forum workshop 2025 Paris Ars Electronica Forum Wallis 2025\, FARM 2025\nArtist in residency at DAR 2016\, DAR 2011 \, MoKS 2016\, KKKC 2023\nWinner of the II International Sound-Art Contest Broadcasting Art 2010 \, Spain.\nWinner of The University of South Florida New-Music Consortium 2019 International Call for Scores in electronic composition category. \n  \nCalvin McCormack: Improvisation for Spheres\nImprovisation for Spheres is a live electronic work for two custom spherical controllers with reactive visuals. Each sphere combines surface-embedded capacitive touch pads with an inertial measurement unit\, wirelessly transmitting sphere orientation and touch sensing. Each sphere sits in a chalice cradle\, with a ring of touch sensors embedded around the rim. The spherical form factor affords intuitive spatialization\, the sphere’s rotation corresponds to the sound’s position in ambisonics\, making spatial movement as immediate and embodied as pitch selection. Touch pads support expressive melodic and harmonic performance\, and skin-touchpad contact area allowing dynamic and timbral expression. The work explores the sphere as both instrument and spatializer\, where single gestures unite melodic\, timbral\, and spatial control. This audiovisual improvisation demonstrates how spatialization can be performed artistically rather than mixed\, elevated from post-production to real-time expression. \nAbout the artist\nCalvin McCormack is an MST student at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. His research focuses on accessible HCI and inclusive design for musical applications. He also conducts research in auditory neuroscience and plays jazz guitar. \n  \nJonathan Impett: Marsia 3\nThis is the final piece of a series written for the installation Apollo e Marsia in 2024. This work expands the moment in time represented by Tintoretto in his painting La gara tra Apollo e Marsia (c.1545). Apollo\, playing a bowed instrument with sympathetic strings\, has been challenged by the satyr Marsia\, playing a woodwind instrument\, to see who is the greater musician. Ovid’s retelling of the story describes a terrible end for Marsia\, but in the moment depicted by Tintoretto both musicians are waiting for the judgement of Midas\, both trying to remember and assess what they and their competitor have just played. \nThe piece is therefore a play on the nonlinearity of memory under stress as both try to replay the performances in their mind. Moments are recalled\, replayed or intrude\, but are always changing in their reconstruction. Memories of themselves and of the other constantly modulate each other. New constructs emerge in memory through this process\, and obsessive recall generates attractors and mirrors; we know from recent neuroscience that remembering and imagining are essentially the same reconstructive process. \nAt its root\, the material all derives from two hymns to Apollo inscribed in stone at Delphi\, arguably the earliest remaining instances of music notation\, and likewise fragmented by erasures. Across time\, musicians have attempted to reconstruct this partially-lost memory in different ways\, creating new formations in the process. \nHere\, the Delphic material is subject to layers of nonlinear memory process\, implemented in Open Music as forward- and backward-moving wave phenomena\, sweeping up emergent patterns as they develop. This produces a score that often requires the performer to assimilate a polyphony of musical materials and physical behaviours as layers of memory. Analogous processes are used in the recorded and live sound processing\, largely through physical modelling\, cross-resynthesis and filtering – digital and analogue. This is in turn heard through a model of the stringed instrument of Marsia’s opponent\, Apollo. An AI brings the live performance into relation with the behaviours\, memory and projection of both competitors. \nAbout the artists\nJonathan Impett (1956) is a composer\, trumpet player and writer. His work is concerned with the discourses and practices of contemporary musical creativity\, particularly the nature of the technologically-situated musical artefact. Activity in the space between composition and improvisation has led to continuous research in the areas of interactive systems\, interfaces and modes of collaborative performance. Recent works combine installation\, live electronics and computational models with notated and improvised performance\, using fluid dynamics as a unifying behavioural model. A new project Anamnesis takes a radical approach to AI\, identifying creative paths implied but unnoticed. He leads the research group “Music\, Thought and Technology” at the Orpheus Institute\, Ghent. \nRichard Craig (alto flute) was born in Glasgow. He studied at the Royal Conservatoire of Scotland and the Conservatoire de Strasbourg. He performs with groups such as Musikfabrik\, Klangforum Wien\, ELISION and in Scandinavia with CAPUT\, Kammarensemblen. He has released two solo discs of contemporary works\, Vale and Inward\, and recorded for Another Timbre\, Wergo\, FHR\, Métier\, as well as SWR\, BBC and Finnish Radio. Not only a celebrated advocate of contemporary music\, his recent album of the Telemann Fantasias and his improvisations was lauded as “bold\, beautiful and clever” (Gramophone). He is also an improviser\, composer and teacher\, currently Director of Performance at the University of Edinburgh. \n  \nMoritz Wesp\, Eric Haupt and Victor Gelling: oscheat\nThis contribution presents oscheat\, a work-in-progress OSC-based interface\, designed to extend ensemble communication beyond conventional musical gestures. By providing a modular and user-friendly environment\, oscheat allows performers to directly control each other’s digital instruments\, enabling novel forms of interaction\, role-sharing\, and emergent musical structures in real time.\nOur instrumental system is structured into three functional sections reflecting core musical building blocks: synthesizers for melodic and harmonic material\, sequencers for rhythmic organization\, and samplers for vocal and sound-based material.\nAdditional functionality includes real-time MIDI recording and looping\, pitch mapping with support for alternative tunings\, spatialization\, and global macro controls for large-scale structural manipulation. Each performer manages their instruments individually while making the controls accessible through oscheat.\nMoritz Wesp\, Eric Haupt and Victor Gelling are playing an eight-minute improvisation\, demonstrating oscheat’s potential for rapid musical exchange\, shared authorship\, and collective decision-making. By exposing critical control parameters to all participants\, the interface encourages social negotiation and flexible role allocation\, making it relevant for both creative research and educational contexts. \nAbout the artists\nMoritz Wesp lives in Cologne (GER) and plays trombone\, virtual trombone and other instruments that he designs\, programs and builds. As an improviser he is working with different ensembles like Mariá Portugal Erosao\, Matthias Muche’s Bonecrusher or the Simon Rummel Ensemble. Besides this he composes music and is part of the Audio-VR project SONA. \nEric Haupt is a guitarist and composer working in experimental music and punk. He completed his Bachelor of Music at the HfMT Cologne in 2018. He is a founding member of the ensembles Now My Life Is Sweet Like Cinnamon and Lawn Chair\, as well as the initiator of the experimental game-show performance Sport1. His music has been presented at festivals throughout Europe and collaborations include internationally renowned producers Olaf O.P.A.L. and Chris Coady. His punk compositions have been broadcast on international radio stations such as BBC Radio 6 Music. \nVictor Gelling is an improviser and composer who uses stringed instruments including but not limited to upright bass\, tenor banjo\, Pedalsteel- and Nonpedalsteel-Guitars in addition to pedals\, synthesizers and barely working self-coded computer programs to create sounds. Their work spans genres from jazz to noise to electric cowboy songs to complex music\, which culminates in their large ensemble works with Trash & Post-Chaotic Music\, their alt-country/post-punk alias Slowklahoma\, solo works or their playing in the Jorik Bergman Trio. \n  \nPaulo C. Chagas: The Skin of the Earth: Fragments\nAbout the artists\nPaulo C. Chagas is a Brazilian-American composer and Professor of Composition at the University of California\, Riverside. With over 220 works across orchestral\, chamber\, electroacoustic\, audiovisual\, and multimedia formats\, his work integrates advanced technology and expressive depth. He studied in Brazil\, Belgium\, and Germany\, earning a Ph.D. from the Université de Liège\, and was composer-in-residence at the WDR Electronic Studio. A Fulbright Scholar (Berlin\, 2022–23) and ICMA board member\, his work is widely performed and published.\nhttps://solo.to/paulocchagas \nBrazilian soprano Adriane Queiroz trained in Pará\, Missouri\, and Vienna. Since 2002/03 she has been a member of the Staatsoper Unter den Linden\, performing roles such as Pamina\, Micaëla\, Susanna\, and Liù. She has appeared at major venues including the Hamburg State Opera\, Semperoper Dresden\, and Wiener Festwochen\, and in concerts at the Musikverein and Konzerthaus Vienna. Her repertoire spans Mozart to contemporary works\, including Schönberg’s Erwartung and Nono’s La fabbrica illuminata\, with recent premieres under Sir Simon Rattle.\nwww.adrianequeiroz.com \n  \nCat Hope and Juan Parra Cancino: The Long Now III  \nThis a scored work for live modular synthesiser performance\, with a backing track. It explores the potential of digital notation for modern electronic instruments\, in this case\, the contemporary modular synthesiser. It is named after the Long Now Foundation\, that aims to provide counterpoint to today’s accelerating culture by encouraging long-term thinking\, fostering responsibility in the framework of the next 10\,000 years. Music provides complex answers to the question of “How Long is Now?”\, and in this work\, a slow descent into very low sound by the performer\, where pitch is either uncontrollable or almost inaudible\, reflects the limits of human action in and perception of sound as it passes through time\, highlighting that there may be other ways to listen\, and other ways to experience our passing through time.\nThe fixed media part of this piece was created at EMS in Sweden\, using the Buchla 200’s 4 x 259 waveform generators and the score is read on the Decibel ScorePlayer\, which also produces the fixed media part. \nAbout the artists\nJuan Parra Cancino studied Composition at the Catholic University of Chile and Sonology at the Royal Conservatoire The Hague\, earning a Master’s degree focused on electronic music composition and performance. In 2014\, he completed his PhD at Leiden University with his thesis “Multiple Paths: Towards a\nPerformance Practice in Computer Music. Parra has been a research fellow at the Orpheus Institute since 2009. \nCat Hope is a award winning Australian composer who focuses on the extremes of sound – from extreme noise to barely audible delicacy. Her works have been performed world wide by ensembles such as Yarn Wire (US)\, the BBC Scottish Symphony (UK) and her works are published internationally on labels such as Hat (Hut) Art\, with her monograph CD Ephemeral Rivers winning the German Critics Prize in 2017. Cat is a represented composer with the Australian Music Centre\, and her music is published by Material Press. Her first opera\, Speechless\, won the Best New Dramatic work in the 2020 Art Music Awards. \n  \nAndrew Loveless: Tape Speed and Feedback\nThis performance presents a live realization of a dual-transport digital tape instrument designed for exploratory composition using playback speed manipulation and controlled feedback. It is performed using a custom-designed system which includes a live visualization that displays the spinning reels to indicate the playback speed of each transport. This provides an engaging visual element that helps the audience follow the sounds as they unfold.\nThe source of the sound material is the distinct\, high-pitched whine of a CRT television’s flyback\ntransformer\, which was chosen for its nearly inaudible high-frequency energy and analog character. One transport initially auditions the sound at normal speed before being dramatically slowed to reveal its hidden textures. The second transport is then introduced at a carefully tuned speed ratio\, allowing the two sources to harmonize and phase against one another. These relationships produce beating patterns and periodic pulses that arise solely from speed interactions rather than from discrete sequencing or event-based control.\nAs the piece develops\, the output of one transport is routed into the input of the other\, introducing overdubbing and pitch-shifted layering. This process generates additional sound material while maintaining continuity with the original material. The performance is further extended by the routing configuration and playback speed chosen during the performance\, rather than fixed delay parameters. Throughout the performance\, changes are gradual and continuous\, allowing structure to emerge organically from simple operational constraints.\nThe performance concludes with a slow attenuation of the feedback\, allowing layers to dissipate organically. Instead of presenting a fixed composition\, the work is shaped through live interaction with the instrument. In doing so\, the performance situates historical tape music techniques within a contemporary digital context. \nAbout the artist\nAndrew Loveless is a graduate student in Music Technology at the Georgia Institute of Technology. Their work focuses on performance-centered instrument design and improvisation\, with an emphasis on preserving tape music techniques and making them more accessible through hands-on\, educational tools. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-concert-4c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:14-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260424T123753
CREATED:20260415T142419Z
LAST-MODIFIED:20260423T194829Z
UID:10000099-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10b: Interactive Media II
DESCRIPTION:Three papers will be presented and discussed:\n\n  \nFabian Ostermann: “BbMuse: A Blackboard-Driven Framework for Real-Time Interactive Music”\nMore info to follow \nEun Ji Oh\, Jun Woo Beck and Alexandria Smith: “The Singing Skin: An Audience-Centered Biofeedback System for Musical Interaction Based on Galvanic Skin Response”\nMore info to follow\nPenelope Bekiari and Anastasia Georgaki: “Hyponoia: An Affective Computing System for Augmented Musical Performance — A Case Study”\nMore info to follow
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10b-interactive-media/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (H 0.16)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T090000
DTEND;TZID=Europe/Amsterdam:20260515T103000
DTSTAMP:20260424T123753
CREATED:20260423T140937Z
LAST-MODIFIED:20260423T194840Z
UID:10000226-1778835600-1778841000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 10a: AI & Sonification
DESCRIPTION:Three papers will be presented and discussed: \n  \nBob Sturm and Elin Kanhov: “oljud—ʇᴉnɹq(n): A Sonic Manifesto of Resistance to Generative AI in Music”\nMore info to follow \nLing Qi\, Teng Ma and Alexandria Smith: “Music of Changing Lines: Sonification of the I Ching Beyond Chance Operation”\nMore info to follow \nChangda Ma\, Sunshiyu Wang\, Canting Zhu and Alexandria Smith: “Extending Xenakis: From Architectural Geometry to Sonification of the Philips Pavilion”\nMore info to follow \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-10a-ai-sonification/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:15-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T110000
DTEND;TZID=Europe/Amsterdam:20260515T110000
DTSTAMP:20260424T123753
CREATED:20260421T195205Z
LAST-MODIFIED:20260421T195205Z
UID:10000100-1778842800-1778842800@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure to Lübeck
DESCRIPTION:
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-to-lubeck/
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T130000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260424T123753
CREATED:20260421T172624Z
LAST-MODIFIED:20260423T090937Z
UID:10000178-1778850000-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Four pieces & papers will be presented: \n  \nLinear A\nChristopher Trapani \nRituals of Forgetting and Remembering\nJocelyn Ho et al. \nHe（龢）\nXiangbin Lin \n雨/Rain \nYuan Zhang and Xinran Zhang \n 
URL:http://icmc2026.ligeti-zentrum.de/event/piece-paper-session-lubeck/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260424T123753
CREATED:20260421T144302Z
LAST-MODIFIED:20260421T144302Z
UID:10000173-1778859000-1778862600@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | James Andy Moorer: History of Computer Music from Mathews to "Man in the Mangroves"
DESCRIPTION:The origins of computer music promised unlimited freedom for composers to make music using sounds that no acoustic instrument could make. This freedom comes with a price. Composing a computer-synthesized piece involves an extra step. You do not just choose the instruments in your ensemble\, but you must also build the orchestra. Over the last 70 years\, we have evolved a wide range of techniques for music synthesis. We have reduced the burden of building the orchestra creation but have not eliminated it.  \nThe creation of “The Man in the Mangroves Counts to Sleep” illustrates this process. About half of the work went to building the computer-based tools for the specialized form of voice synthesis needed for orchestration of the poem. After all these years\, it is clear that there is more to be done to reduce the effort required ofthe composer in bringing the sounds from our imagination into reality. This talk will illustrate some of the problems that had to be solved in the realization of the piece.  \n  \nJames Andy Moorer\nJames A. Moorer is an internationally-known figure in digital audio and computer music\, with over 40 technical publications and many patents to his credit. In 1991\, he won the Audio Engineering Society Silver award for lifetime achievement. \nIn 1996\, he won an Emmy Award for Technical Achievement with his partners\, Robert J. Doris and Mary C. Sauer for Sonic Solutions/NoNOISE for Noise Reduction on Television Broadcast Sound Tracks. \nIn 1999\, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award (oscar) – for his pioneering work in the design of digital signal processing and its application to audio editing for film. \nHe is currently retired. \nFrom 1987-2001\, Dr. Moorer has served as Senior Vice President for Advanced Development at Sonic Solutions\, and is responsible for the NoNOISE package for restoration of vintage recordings. \nFrom 1986 to 1987\, Dr. Moorer consulted for NeXT\, Inc.\, on DSP software architecture for audio processing. \nFrom 1985 to 1986\, he was the chief technical officer at the Lucasfilm Droid Works. \nFrom 1980 to 1985\, he was the digital audio project leader at Lucasfilm\, Ltd. From 1977-1980\, he was the Reponsable Scientifique (technical advisor) at IRCAM in Paris. \nFrom 1975 to 1977\, he was a founder and co-director of the Stanford Computer Center for Research in Music and Acoustics. \nFrom 1968 to 1972\, he was a professional programmer at the Stanford Artificial Intelligence Laboratory. \nDr. Moorer holds a PhD in Computer Science from Stanford University\, granted in 1975. Prior to that\, Dr. Moorer earned an S.B. in Applied Mathematics from MIT in 1968\, and an S.B. in Electrical Engineering from MIT in 1967. \n  \n  
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-james-andy-moorer-history-of-computer-music-from-mathews-to-man-in-the-mangroves/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260424T123753
CREATED:20260421T113808Z
LAST-MODIFIED:20260423T185415Z
UID:10000161-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Shelly Knotts\, Daniel Ratliff and Lucy Whalley: Sonification and the Space In-Between: Bridging Scientific Inquiry and Musical Practice
DESCRIPTION:Sonification has a long history within computer and electronic music\, with composers—such as Clarence Barlow\, Alvin Lucier and Laurie Spiegel—using data as a compositional tool. At the same time\, sonification is an established tool in scientific inquiry\, where it has been used for purposes ranging from the sonification of astronomical phenomena for public outreach\, to the analysis and communication of long-term environmental data. This workshop explores the rich interdisciplinary space that lies between computer music composition and scientific inquiry\, focusing on sonification as a shared methodology\, bridging between disciplines\, rather than a discipline-specific technique. Participants will be introduced to interdisciplinary working practices that support the identification of shared concerns and the development of common understanding when designing sonifications\, as well as software tools and computational workflows that enable collaborative work. The workshop will be led by researchers working together as part of the interdisciplinary project Sonic Intangibles\, and within their own domains of Sound Art\, Live Coding\, Mathematics and Computational Physics. By emphasising interoperability and participation\, this workshop aims to explore how sonification can generate increased discourse between\, and mutual benefit for\, musical and scientific communities. \n  \nRequirements\nThe workshop is accessible to a broad audience in computer music\, with the only pre-requisite being some familiarity with any programming language. Attendees will be asked to install a local version of Supercollider ahead of the workshop\, and will need to bring a laptop and headphones for the final part of the workshop. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nShelly Knotts produces live-coded and network music performances and projects which explore aspects of code\, data and collaboration in improvisation\, and has performed and presented her work at numerous events worldwide. Based in Newcastle Upon Tyne\, UK\, she performs internationally\, collaborating with computers and other humans. She is currently a Post-doctoral Research Fellow on the Sonic Intangibles project at Northumbria University.\nIn 2021-23 she was an Artist-in-Residence on the Heritage Lottery funded Seascapes project\, working with communities in Sunderland. In 2016-2021 she worked on research projects around the use of AI\, data and networks in improvisation and composition and related social themes at Durham University (UK)\, Monash University (AUS)\, Newcastle University (UK) and McMaster University (CA). She completed a PhD in Live Computer Music at Durham University in 2018.\nIn 2017 she was a winner of BBC Radiophonic Workshop and PRSF ‘The Oram Awards’ for innovation in sound and music.\nShe has taught numerous creative coding workshops at conferences\, festivals\, universities and cultural institutions worldwide\, and runs Creative Code Club — an informal and inclusive gathering of people interested in the practices and cultures of creative coding — at The NewBridge Project\, an artist-led space in Newcastle Upon Tyne. \n  \nDaniel Ratliff is an associate lecturer at Northumbria university (2020-present)\, specialising in interdisciplinary approaches to waves across physics and beyond. He works internationally to connect concepts across mathematics\, oceanography\, statistical physics and space science to advance our understanding of these topics and bridge the disciplinary gaps that often separate these fields.\nHe has delivered several public engagement events (including Newcastle’s Pint Of Science in 2023 and 2025 and public lectures at Newcastle’s Lit and Phil)\, has organised and delivered two 14-week research project for KS3 students at a local school via the ORBYTS initiative and both designed and delivered a number of targeted Researcher skills workshops for the PGR student cohorts at Northumbria University. \n  \nLucy Whalley is an Associate Professor in Physics at Northumbria University whose work spans quantum chemistry\, materials modelling and interdisciplinary scientific and creative practices. Her research is centred around the use of computational techniques and high performance computing to investigate the atomic-scale behaviour of materials\, particularly in contexts relevant to renewable energy.\nLucy is co-lead of the Sonic Intangibles project which explores how interdisciplinary practice across computer music\, ethnography and the physical Sciences can enable sonification as a tool for research and communication. She is also a member of SDF\, an experimental electronic musiccollective whose work has been released through Lost Map Records and performed at venues including Iklektic (London) and Summerhall (Edinburgh).\nLucy is a Software Sustainability Institute Fellow and Associate Editor at the Journal of Open Source Software\, reflecting her interest and advocacy for open and and sustainable software development. She currently teaches programming\, quantum mechanics and computational Physics at university Level. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-shelly-knotts-et-al-sonification-and-the-space-in-between-bridging-scientific-inquiry-and-musical-practice/
LOCATION:Lübeck University of Music: Holstentorhalle\, Chorsaal\, Wallstraße 2\, Lübeck\, 23554\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T170000
DTEND;TZID=Europe/Amsterdam:20260515T190000
DTSTAMP:20260424T123753
CREATED:20260421T121755Z
LAST-MODIFIED:20260423T185343Z
UID:10000166-1778864400-1778871600@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pierre Alexandre Tremblay\, Nicola Leonard Hein and Gilbert Nouno: Dialogues with Improvising Machines: an Embodied Cross-Testing Workshop on Musical Agents
DESCRIPTION:This 2.5-hour workshop examines four musical agent systems through a structured process of presentation\, performance\, collective listening\, and critical discussion. It addresses a central contemporary question in computer music: how the design of musical agents encodes particular modes of listening\, interaction\, and agency\, and how these design choices shape musical practice.\nThe workshop adopts a commented comparative-phenomenological methodology. It showcases four musical agent systems selected from an open call\, which are presented in turn\, each offering a distinct approach to interactive and improvisational musical behavior. These systems have been developed using different programming languages\, creative coding environments\, and technical frameworks\, reflecting the diversity of current practices in the field. Their comparison will therefore highlight not only aesthetic and compositional differences\, but also the ways in which specific tools and technical architectures condition musical affordances.\nFor each system\, the creator will quickly introduce its technical design\, musical aims\, and underlying assumptions. This will be followed by a short performance by the system’s author\, two exploratory performances by other workshop participants\, and a discussion with participants and attendees. The emphasis throughout will be on the system’s interactional qualities\, its encoded listening strategies\, and the forms of musical agency that emerge in performance.\nThe final part of the workshop will be devoted to a comparative discussion of the four systems\, with the aim of articulating shared vocabulary\, critical perspectives\, and possible evaluation criteria for improvising and interactive musical agents. In doing so\, the workshop seeks to contribute to ongoing discourse on the role of bias\, intention\, and technological mediation in musical system design. This closing conversation will reflect on the different forms of musical interaction that emerged\, and consider how we might develop shared vocabulary\, aims\, and evaluation criteria for improvising and interactive musical agents.\nThe workshop is intended for composers\, improvisers\, performers\, creative coders\, and researchers interested in interactive systems\, machine listening\, and AI in music. It particularly welcomes participants who wish to think critically about what it means to compose with\, perform with\, or delegate agency to computer-based musical systems.\nBy creating a space for presentation\, experimentation\, and peer critique\, the workshop aims to deepen discussion around the role of encoded listening in musical agent systems and the musical practices that emerge from it.\nThe workshop is led by Pierre Alexandre Tremblay (Conservatorio della Svizzera italiana)\, Nicola Leonard Hein (University of Music Lübeck)\, and Gilbert Nouno (Haute école de musique de Genève)\, whose artistic and research practices span composition\, improvisation\, creative coding\, and interactive systems. \n  \nRequirements\nListen and Discuss. \n  \nWorkshop registration\nPlease register via Pretix in order to participate in the workshop. There are no additional costs.  \n  \nAbout the workshop facilitators\nPierre Alexandre Tremblay 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 practices critical creative coding. His music is available on empreintes DIGITALes.\nHe studied composition with Michel Tétreault\, Marcelle Deschênes\, and Jonty Harrison; bass guitar with JeanGuy Larin\, Sylvain Bolduc\, and Michel Donato; Analysis with Michel Longtin\, and Stéphane Roy; and studio technique with Francis Dhomont\, Robert Normandeau\, and Jean Piché.\nPierre Alexandre was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24\, where he anchored the ERCsupported Fluid Corpus Manipulation project. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition.\nHe likes spending time with his family\, reading prose\, and going on long walks. \nNicola Leonard Hein is a sound artist\, guitarist\, creative technologist\, composer and researcher in music and philosophy. He is a professor of Sound Arts & Creative Music Technology at the music university of Lübeck.\nHis work is driven by the interaction of sound and space\, light\, movement\, thought and the becoming of embodied and intermedial intelligence in aesthetic systems\, community and technology. In his artistic work\, he uses physical and electronic extension of the electric guitar\, sound installations\, cybernetic human-machine interaction with A.I. interactive music systems\, Augmented Reality\, telematic real-time art\, ambisonic sound projection\, instrument building\, conceptual compositions\, intermedia works (with video art\, light\, dance\, literature) and much more.\nHis research revolves around questions of philosophy of music\, epistemology\, aesthetics\, media theory\, critical improvisation studies and cybernetics. It follows questions of the creation of identity and sense in interactions between humans and technology\, and investigates the philosophical implications of musical and intermedial practices. \nGilbert Nouno composes\, codes\, improvises\, and teaches at the Haute école de musique de Genève\, where he leads the CIMME (Interdisciplinary Center for Experimental Music and Media). He likes to blend sound with image\, and technology with the gestures of performance. Moving between tangible matter and dematerialized material\, his hybrid works invite audiences to cross the ever-shifting boundary between human and machine. With artificial intelligence\, he explores new playgrounds to expand improvisation\, rethink performance\, and imagine augmented artistic practices.\nThis approach is embodied in works such as SINE (2024)\, a performative multimedia piece in which gesture drives sound and video within an immersive\, AI-based audiovisual environment. A laureate of the Villa Kujoyama in Kyoto and the Académie de France à Rome Villa Medici\, he has shared stages\, studios\, and creative adventures with composers Pierre Boulez\, Jonathan Harvey\, Olga Neuwirth\, saxophonist Steve Coleman\, flutist Magic Malik\, choreographer Léo Lérus\, scenographer Jean Kalman\, and stage director Pierre Audi. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-pierre-alexandre-tremblay-et-al-dialogues-with-improvising-machines-an-embodied-cross-testing-workshop-on-musical-agents/
LOCATION:Lübeck University of Music: Ehemalige Bundesbank\, Schalterhalle\, Holstentorplatz 2\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T183000
DTEND;TZID=Europe/Amsterdam:20260515T213000
DTSTAMP:20260424T123753
CREATED:20260415T122932Z
LAST-MODIFIED:20260417T115457Z
UID:10000124-1778869800-1778880600@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Sound Bar: "Sono\, ergo sum." – I sound\, therefore I am.
DESCRIPTION:Photo: Soundbar Kollektiv\n  \nThe Soundbar is a performative pop-up bar that brings together socializing\, drinks\, and jam sessions. It serves as a workshop and experimental space\, offering an environment for exploring sound\, finding inspiration\, and connecting with others. What does your favorite drink sound like? Join us for Soundbar’s vibrant sound journeys. Let your glasses sing and discover new levels of sensory experience at the bar.  no registration required \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-sound-bar-sono-ergo-sum-i-sound-therefore-i-am/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T193000
DTEND;TZID=Europe/Amsterdam:20260515T203000
DTSTAMP:20260424T123753
CREATED:20260415T123232Z
LAST-MODIFIED:20260417T115504Z
UID:10000125-1778873400-1778877000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Experimental Reading: Harburg. Das Buch – Excursions in Voice\, Photo & Music (German)
DESCRIPTION:Credits: Junius Verlag\n  \nAuthor Bärbel (Bascha) Wegner\, photographer Steven Haberland\, and musician Clarks Planet bring together text\, images\, and sound in a multi-layered exploration of the city of Harburg. Storytelling meets improvised music\, photographs interact with sound and field recordings.  \nThe familiar takes on new shapes\, improvisation unfolds—opening up fresh perspectives on the neighborhood\, not least from the vantage point of the Production Lab on the 10th floor.  \nIn German only.\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-experimental-reading-harburg-das-buch-excursions-in-voice-photo-music-german/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:15-05,Music,Off-ICMC,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T200000
DTEND;TZID=Europe/Amsterdam:20260515T220000
DTSTAMP:20260424T123753
CREATED:20260421T171512Z
LAST-MODIFIED:20260422T132957Z
UID:10000177-1778875200-1778882400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 5B (Lübeck)
DESCRIPTION:Program Overview\nImprovising Machine #7325: Inside My Trumpet\, Again\nJeff Kaiser \nThe Letter\nMinho Kang \nMoloch whose mind is pure machinery!\nEric Lyon \nTidal Unit for Sonic Activities\nIlia Viazov and Nicola Leonard Hein \nRhythmic Traces | Twisted Electronics\nNicola Leonard Hein \nFound Violin x Aromantic Hobby \nDong Zhou \nTokens & Strings: an improvisation between an electric guitarist and a local LLM\nOlivier Jambois \n  \nAbout the pieces & artists\nJeff Kaiser: Improvising Machine #7325: Inside My Trumpet\, Again\n“Improvising Machine #7325: Inside My Trumpet\, Again” places the audience inside a trumpet\, exploring the instrument’s interior sonic world through an immersive human–machine improvisation system. The work is built from an extensive\, purpose-built sample library captured by placing microphones deep within the instrument. These samples document the mechanical sounds and embodied actions of trumpet performance without the instrument being played traditionally—collections of the sound of valves descending\, springs releasing\, air being compressed and released by slides\, valve caps loosening\, spit-valve gurgles\, and a range of non-tonal lip\, air\, and tongue sounds produced through the mouthpiece and leadpipe. \nTwenty-eight autonomous virtual agents (“robots”)\, authored by the composer in Max/MSP and hosted in Ableton Live\, inhabit a 360-degree ambisonic field surrounding the audience. Each agent draws from its own subset of the sample library and listens to the live trumpet performance in real time. Their behaviors fluctuate between responsive and indifferent\, generating shifting environments that range from highly chaotic to unexpectedly calm. As a result\, the improvising performer becomes entangled with a machine ensemble that both reflects and subverts the human gestures\, creating a continuously changing dialogue between human and technological agents. \nAbout the artist\nJeff Kaiser is a trumpet player\, media technologist\, and scholar. Classically trained as a trumpet player and composer\, Kaiser now takes an integrative\, systemic view that involves his traditional instrument\, emergent technology (in the form of custom interactive/generative software and hardware interfaces)\, space\, and audience: all being critical and integral participants in his performances. He gains inspiration and ideas from the rich history of experimental improvisation and composition\, as well as cognitive science\, and the vast timbral and formal affordances provided by combining traditional instruments with new and repurposed technologies. The roots of his music are firmly in the experimental traditions within jazz\, improvisation\, and Western art music practices. Kaiser is currently Associate Professor of Music Technology and Composition at the University of Central Missouri. \nMore information at https://jeffkaiser.com/ \n  \nMinhi Kang: The Letter\nThe Letter is a work of consolation created using an FFT Channel Vocoder with Additive Synthesizer. \nHistorically\, the vocoder was developed during wartime to enable communication among allies. It reduces wideband speech to a narrower band for transmission and then reconstructs it at the receiver. In short\, a vocoder sends important words over distance and makes their faint traces audible again.\nAs a composer\, creating music is much the same. I keep listening to people and the world\, their voices. Then\, I compress\, interpret\, and reassemble those words in my own terms and offer them back as a piece.\nUnlike the vocoder’s original purpose\, in a time when war is no longer shocking news\, I wanted to use this technology to carry comfort. The lyrics come from a poem I wrote during my military service to endure a hard period (not in combat). This piece does not present a political agenda; it is a letter to anyone facing painful circumstances\, on any side\, in any degree. \nTechnically\, I aimed to design a vocoder with greater precision than a conventional channel vocoder. Instead of using bandpass filters\, I applied Fast Fourier Transform (FFT) analysis to collect more detailed and accurate amplitude information\, which allowed clearer rendering of vowel formants. This approach led to the creation of a Max for Live (M4L) FFT Channel Vocoder patch.\nI also developed an Additive Synthesizer M4L patch capable of producing a wide spectrum of sounds\, from pure sine waves to noise. When combined with the vocoder\, this synthesizer allows the clarity and harmonicity of speech to change according to the lyrics. Since the text relates to the transformation of light\, I used this Additive Synthesizer to achieve a tone painting that reflects those luminous changes. \nAbout the artist\nMinho Kang is a Korea-born composer and computer musician. His artistic interests\, which began in popular music and moved into contemporary music\, have expanded into electronic music at the intersection of technology and art. Drawing on introspective reflection and close observation of the world\, he brings diverse imaginings into his works.\nHis music has been presented at conferences and festivals including SEAMUS\, ICMC\, and the TurnUp Multimedia Festival. He completed his bachelor’s degree at Indiana University\, where he studied composition with Jeremy Podgursky\, Aaron Travers\, P. Q. Phan\, David Dzubay\, and Don Freund\, and electronic music with John Gibson and Chi Wang at the Center for Electronic and Computer Music. \n  \nEric Lyon: Moloch whose mind is pure machinery!\nAllen Ginsburg’s poem Howl was published in 1956\, the same year as the Dartmouth Summer Research Project on Artificial Intelligence. The two events portend seemingly incompatible futures that nonetheless are both with us now. A bursting forth of cultural chaos in an “armed madhouse” and the technocratic reduction of intelligence to code. Ginsburg’s poem’s ritualistic and repetitive rant about Moloch inspired this performance\, a tone poem that derives its sounds from two main sources – AI-generated music and the OB-Xd virtual analog synthesizer VST plugin manipulated using the Slewable Utility for Random Parameters (SLURP) designed by the composer. The performance interface consists of a Korg nanoKONTROL2 unit and the Google MediaPipe face landmarker. \nAbout the artist\nEric Lyon is a composer and audio researcher focused on high-density loudspeaker arrays\, dynamic timbres\, virtual drum machines\, and performer-computer interactions. His audio signal processing software includes “FFTease” and “LyonPotpourri.” He has authored two computer music books\, “Designing Audio Objects for Max/MSP and Pd\,” a guidebook for writing audio DSP code for live performance\, and “Automated Sound Design\,” a book that presents technical processes for implementing oracular synthesis and processing of sound across a wide domain of audio applications. He has written extensively about the possibilities of multichannel spatial audio. In 2016-17\, Lyon was guest editor for the Computer Music Journal on Volume 40(4) and 41(1) covering various aspects of High-Density Loudspeaker Arrays (HDLAs). \nIn 2015-16\, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with HDLAs. In 2025 he co-created the Spatial Audio Tidepool to provide technical instruction for creative uses of high-density loudspeaker arrays. Lyon’s compositional work has been recognized with a ZKM Giga-Hertz prize\, MUSLAB award\, the League ISCM World Music Days competition\, and a Guggenheim Fellowship. Lyon teaches in the School of Performing Arts at Virginia Tech\, and is a Faculty Fellow at the Institute for Creativity\, Arts\, and Technology. \n  \nIlia Viazov and Nicola Leonard Hein: Tidal Unit for Sonic Activities\nPerformance-presentation of tusa (Tidal Unit for Sonic Activities). Tusa is a framework for Tidal Cycles live-coding environment that binds together different parts of the application in one Bash executable. It is an attempt to accomplish Tidal Cycles\, expanding it to a software DMI. It seeks to fulfill essential needs during performance with the environment\, keeping the setup very minimal yet sturdy\, while remaining modular and extendable. The framework allows the user access to the interpreter\, text editor\, reference window and server during live-coding practices.\nThe performance is aimed on live-coding improvisation with machine learning tools using spatialisation synthesis techniques. \nAbout the artists\nIlia Viazov (born in 1999 in Voronezh\, Russia) is a composer and sound artist working at the intersection of electronic music\, performance\, self-built instruments\, machine learning\, and software development. His personal and collaborative works have been presented at and supported by Ars Electronica Festival\, platformB Stuttgart\, and Darmstädter Ferienkurse. He is developing the framework tusa for Tidal Cycles live-coding environment\, a terminal implementation that allows the user run it locally\, fully interact with all parts of the environment and extend it. \nDr. Nicola Leonard Hein \n\nNicola Leonard Hein: Rhythmic Traces | Twisted Electronics\nThe piece Rhythmic Traces|Twisted Electronics deals with the question of how the integration of the body and skin resistance into the circuit of an analog synthesizer(Buchla Music Easel) and the connection with a machine learning-based musical agent system(SuperCollider) can change the tonal and rhythmic fluidity of the instrument and develop it beyond its limits. For this piece\, Nicola Leonard Hein uses a unique circuit-bending controller that completely alters the musical reading of the 1970s Buchla Music Easel. Furthermore\, he uses a multi-effect unit programmed in SC and realized with a Bela Microcomputer. Hein’s musical agent learns to interact musically\, creating the music in real time together with Hein on the synthesizer and developing the interaction between a human and a machine musical voice. The systemic economy of movement and the interaction with the AI musical agent create polyphonic rhythmic\, tonal\, and spatial structures. The piece focuses on the emergent Dances of Agency (Pickering). \nAbout the artist\nDr. Nicola L. Hein is a sound artist\, guitarist\, composer\, researcher\, programmer\, and professor of Sound Arts and Creative Music Technology at the University of Music Lübeck.\nHe works with A.I.-assisted human-machine interaction\, postdigital lutherie\, intermedia\, sound installations\, augmented reality\, network music\,and spatial audio. His works have been realised in more than 30 countries\, at festivals such as MaerzMusik Festival\, Sonica Festival\, Experimental Intermedia etc. \n  \nDong Zhou: Found Violin x Aromantic Hobby \nFound Violin is an improvisation system that treats the violin as just one of many sound objects. Since late 2024\, Dong Zhou has started to develop Aromantic Hobby\, a series of strap-on midi controllers. After a few prototypes\, the current controller features a bunny-shaped appearance and wirelessly transmits kinetic data from the wearer to control a chaotic synthesizer. With Found Violin played with the upper body and Aromantic Hobby on on lower body\, the musician plays a duo with themselves. \nAbout the artist\nDong Zhou is a composer-performer based in Hamburg. Zhou gained a B.A. in music engineering at the Shanghai Conservatory and an M.A. in multimedia composition at the Hamburg University of Music and Drama. Zhou won several prizes\, including the first prize in the 2018 ICMC Hacker-N- Makerthon\, the finalist of the 2019 Deutscher Musikwettbewerb\, the Nota-n-ear Award 2022\, and the shortlist of the 2025 Giga-Herz Pop Experimental Production Award. Zhou had works included in the ‘Sound of World’ Microsoft ringtones collection and was commissioned by festivals and institutions such as the Shanghai International Art Festival\, ZKM Karlsruhe\, Stimme X Festival\, etc. Zhou is currently a doctoral candidate in ICAM of Leuphana University. \n  \nOlivier Jambois : Tokens & Strings: an improvisation between an electric guitarist and a local LLM\nThis performance explores real-time co-creation between a human performer and a machine\, specifically investigating the improvisational capabilities of Large Language Models (LLMs) within a musical context. The project originates from an inquiry into the potential of using established LLM architectures —notably the one behind ChatGPT— as responsive improvisational partners. \nA primary challenge in this research is the nature of the LLM: as these models are designed for symbolic processing rather than direct audio generation\, the system must bridge the gap between acoustic signals and semantic analysis. An architecture was developed where the electric guitar’s audio is captured and processed to extract high-level audio descriptors. These descriptors are then sent to the LLM\, which analyzes the performer’s intent and generates a symbolic rhythmic response. This response is mapped to a drum sequencer controlling kick\, snare\, and hi-hat patterns.\nTo address the inherent risks of cloud-based APIs in a live performance environment—such as latency and connectivity instability—this work utilizes a local deployment. While local models often feature a smaller parameter count\, the system has been optimized through careful prompt design and constraint-based logic. This ensures a meaningful rhythmic dialogue while minimizing inference time\, achieving a critical trade-off between algorithmic complexity and real-time musical reactivity. \nIn this performance\, the generative drumming output is routed through a RAVE (Real-time Audio Variational auto-Encoder) module\, developed by IRCAM. By applying neural re-synthesis via a percussion pre-trained model\, the system transforms these source samples into complex\, evolving textures\, moving beyond static playback toward a more sophisticated timbral exploration. Throughout the improvisation\, the guitar signal is processed through custom-designed Pure Data patches\, creating a personal sonic language that oscillates between raw strings and highly transformed textures\, seeking a constant state of flux between contrast and blending with the machine-generated environment. \nAbout the artist\nOlivier Jambois is a guitarist\, composer\, and researcher working at the intersection of acoustic tradition\, analog electronics\, and digital innovation. He holds a PhD in Condensed Matter Physics and a Master’s degree in jazz and modern music\, a dual background that defines his analytical yet avant-garde approach to music.\nAfter winning the Jazz à Vienne national competition in 2012\, his debut Les Composantes Invisibles earned “Revelation” honors from Jazz Magazine. Since then\, he has contributed to over 16 albums on labels like Naïve and Underpool\, performing at major festivals including Nancy Jazz Pulsations and the Barcelona Jazz Festival.\nHis recent work bridges historical and cutting-edge technologies. A 2023 grant from the Generalitat de Catalunya supported his research into DIY magnetic tape echoes\, resulting in the solo album Self Tape Echoes (2024). In contrast\, his project Cosmogonies utilizes Pure Data on a Raspberry Pi for purely digital expression. He integrates these two worlds in live improvisations at festivals like LEM and MIRA. His 2025 release\, Eclosió\, featuring drummer Jim Black\, further establishes his influence in contemporary improvisation.\nAs a Professor and Researcher at ENTI-UB\, Jambois focuses on AI and generative systems. By synthesizing scientific methodology with contemporary creation\, he continues to push the boundaries of the electric guitar through custom-built hardware and computational tools. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-5b-lubeck/
LOCATION:Lübeck University of Music: Großer Saal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Concert,Excursion to Lübeck,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260515T223000
DTEND;TZID=Europe/Amsterdam:20260515T223000
DTSTAMP:20260424T123753
CREATED:20260421T195201Z
LAST-MODIFIED:20260423T123822Z
UID:10000101-1778884200-1778884200@icmc2026.ligeti-zentrum.de
SUMMARY:Excursion: Departure (Return) to Hamburg
DESCRIPTION:
URL:http://icmc2026.ligeti-zentrum.de/event/excursion-departure-return-to-hamburg/
CATEGORIES:15-05,Excursion to Lübeck
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T090000
DTEND;TZID=Europe/Amsterdam:20260516T103000
DTSTAMP:20260424T123753
CREATED:20260415T142737Z
LAST-MODIFIED:20260423T194507Z
UID:10000102-1778922000-1778927400@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 11: Studio Reports I
DESCRIPTION:Three studio reports will be presented:\n\n  \nTakeyoshi Mori: “Studio Report: Laboratory of Advanced Music Production\, Senzoku Gakuen College of Music”\nMore info to follow \n\nJosé Ricardo Barboza and Gilberto Bernardes: “Studio Report: A Third-Order Periphonic Ambisonics System for Teaching and Research at the [removed]”\nMore info to follow\n\nLudger Brümmer\, Götz Dipper and Dan Wilcox: “20 Years Zirkonium and Klangdom at ZKM”\nMore info to follow \n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-11-studio-reports-i/
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:20260516T123000
DTSTAMP:20260424T123753
CREATED:20260415T143012Z
LAST-MODIFIED:20260423T194446Z
UID:10000104-1778929200-1778934600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 12: Studio Reports II
DESCRIPTION:Two studio reports will be presented:\n\n  \nHefang Ma\, Jingyu Luo\, Paul Francis\, Mara Helmuth\, Sangbong Nam and Wei-Huai Chen: “Studio Report: Center for Computer Music of the College-Conservatory of Music at the University of Cincinnati 2025–2026″\n\nmore info to follow\n\nPedro Rebelo and Craig Jackson: “SARC Studio Report”\nmore info to follow \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
END:VCALENDAR