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X-WR-CALNAME:ICMC HAMBURG 2026
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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;VALUE=DATE:20260510
DTEND;VALUE=DATE:20260528
DTSTAMP:20260423T054053
CREATED:20260415T101343Z
LAST-MODIFIED:20260421T200939Z
UID:10000110-1778371200-1779926399@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Installations and Performances: "Transition | Tension | Potential"
DESCRIPTION:Between platforms 3 and 4 at Harburg railway station\, the displays of the Kunstverein Harburger Bahnhof present materials and objects in transformation. They don’t show finished forms\, but processes and contradictions.  \nThe work is occasionally complemented by sound-based and performative interventions. It explores tension\, transitions\, and what emerges in between —between things\, within situations — and how this shapes the way we perceive the world.  \nOpen 24/7\nNo 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-installations-and-performances-transition-tension-potential/
LOCATION:Kunstverein Harburger Bahnhof\, Hannoversche Straße 85 (at the train station above platform 3&4)\, Hamburg\, 21079\, Germany
CATEGORIES:10-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260510T170000
DTEND;TZID=Europe/Amsterdam:20260510T183000
DTSTAMP:20260423T054053
CREATED:20260421T195949Z
LAST-MODIFIED:20260421T195949Z
UID:10000072-1778432400-1778437800@icmc2026.ligeti-zentrum.de
SUMMARY:ICMA Board Meeting
DESCRIPTION:
URL:http://icmc2026.ligeti-zentrum.de/event/icma-board-meeting/
CATEGORIES:10-05,ICMA
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260510T190000
DTEND;TZID=Europe/Amsterdam:20260510T220000
DTSTAMP:20260423T054053
CREATED:20260421T081038Z
LAST-MODIFIED:20260422T105119Z
UID:10000070-1778439600-1778450400@icmc2026.ligeti-zentrum.de
SUMMARY:Opening Concert
DESCRIPTION:Program Overview\nIntroduction \nAlexander Schubert – SCANNERS (2013)\nfor string quintet\, choreography\, and electronics (12 min) \nNicole Brady – Ricochet (World Premiere 2026)\nfor chamber orchestra (10 min) \nAnthony Paul De Ritis – Filters (2015 / 2026)\nfor alto saxophone\, string orchestra\, and live electronics (10 min) \nIntermission (25 min) \nAigerim Seilova / Steffen Lohrey – Breath Mechanics (World Premiere 2026)\nfor two soprano saxophones\, string ensemble\, and live electronics (10 min) \nClarence Barlow – Im Januar am Nil (1985)\nfor ensemble (approx. 25 min) \nShort break (10 min) \nClosing & Conference Information (15 min) \n  \nPerformers\nEnsemble Resonanz – strings\nAsya Fateyeva – saxophone\nVlatko Kučan – saxophone\nJohn Eckhardt – double bass\nDulguun Chinchuluun – piano\nLin Chen – percussion \nConductor\nFriederike Scheunchen \nFind out more about the musicians playing at ICMC HAMBURG 2026 here.  \n  \nAbout the pieces\nAlexander Schubert: SCANNERS (2013)\nfor string quintet\, choreography\, and electronics \nThe piece SCANNERS copes with the physical qualities of instrumentalists in electro-acoustic music. It is a choreographed composition\, that takes movement as important as sound. The string ensemble turns into a performing machine. The main focus is on the movement of scanning – as well in the interaction of bow and instrument when producing sound as also in purely artificial gestures. There is no difference between musically necessary or choerographically determined mouvement. The piece can be seen as a comment on the relationship of man to digital content: the direct consequences of action can’t be explained by simple cause and effect principles any more\, the musicians become puppets or at least a part of a complex machine. At the same time the piece offers a special focus on the highly specialized genre of the string orchestra: the mechanizing emphasizes the accuracy of the interpreter and the elegance of the traditional movement\, here being staged independently from the production of sound.\nScanners belongs to a series of compositions that deal with physicality\, as there is e.g. Point Ones with interactive conductor or LaPlace Tiger with a sensor-wired drummer. \nAbout the composer\nAlexander Schubert (1979) studied bioinformatics\, multimedia composition. He’s a professor at the Musikhochschule Hamburg. Schubert’s interest explores the border between the acoustic and electronic world. In music composition\, immersive installation and staged pieces he examines the interplay between the digital and the analogue. He creates pieces that realize test settings or interaction spaces that question modes of perception and representation. Continuing topics in this field are authenticity and virtuality. The influence and framing of digital media on aesthetic views and communication is researched in a post-digital perspective. Recent research topics in his works were virtual reality\, artificial intelligence and online-mediated artworks. Schubert is a founding member of ensembles such as “Decoder“. His works have been performed more than 700 times in the last few years by numerous ensembles in over 30 countries. \n  \nNicole Brady: Ricochet (World Premiere 2026)\nfor chamber orchestra and live electronics \nRicochet explores the idea of deviation from an expected path after an initial impact\, leading to new directions. Inspired by the ricochet bowing technique\, this concept unfolds both physically and metaphorically within the ensemble.\nA responsive electronic system listens to the orchestra and generates a parallel sonic layer. Energetic passages produce scattered\, percussive textures\, while quieter material leads to dense\, sustained sound fields. The system alternates between listening and generative modes\, interacting closely with the performers.\nSubtle references to composers such as Couperin\, Ravel\, and Mozart connect historical material with contemporary sound\, while the electronics act as an additional\, autonomous voice within the ensemble. \nAbout the composer\nNicole Brady is an award-winning composer and creative director whose work spans concert music\, immersive installation\, and video game franchises including Final Fantasy\, Tekken\, and Valkyria Chronicles. Her work has been honoured by the Peabody Awards and IndieCade\, and her immersive sound album Lost Palace was released with the Royal Scottish National Orchestra. Recent commissions and performances include the Omega Ensemble\, Melbourne Symphony Orchestra\, Flinders Quartet\, and Lyris Quartet. As creative director of WLDR studio\, her immersive multisensory works have reached over 20\,000 participants across Illuminate Adelaide and Spier Light Art Festival. Nicole is a researcher at the Melbourne Conservatorium of Music and recipient of the Director’s Award for Exceptional Doctoral Research. \n  \nAnthony Paul De Ritis: Filters (2015 / 2026)\nfor alto saxophone\, string orchestra\, and live electronics \nOriginally composed for alto saxophone and electronic playback\, Filters explores the layering and spatial diffusion of sound. Recorded saxophone material creates a “second” voice\, blending with the live soloist into a unified\, resonant field.\nIn this version for saxophone\, string orchestra\, and multi-channel electronics\, the ensemble extends these layers\, producing a rich interplay between live instruments and their electronically mediated “shadows.”\nThe solo saxophone remains at the expressive center\, while the surrounding textures generate depth\, movement\, and an immersive spatial experience. \nAbout the composer\nDescribed as a “genuinely American composer” (Gramophone)\, “a bit of a visionary” (Audiophile Audition)\, and “bracingly imaginative” (The Boston Globe)\, Anthony Paul De Ritis has received performances around the world\, including at Lincoln Center\, Beijing’s Yugong Yishan\, Seoul’s KT Art Hall\, the Italian Pavilion at the 2015 World Expo in Milan\, and UNESCO headquarters in Paris. \nDe Ritis’s 2012 release “Devolution” by the GRAMMY® Award-winning Boston Modern Orchestra Project\, featuring Paul D. Miller aka DJ Spooky as soloist\, was described as a “tour de force” (Gramophone); and his “Pop Concerto” (2017) featuring Eliot Fisk was lauded as “a major issue of American music\,” (Classical CD Review) and his “Electroacoustic Music – In Memoriam: David Wessel” (2018) was cited as among the “Best of 2018” in the electronic music category (Sequenza 21). \nHe holds a Ph.D. from the University of California\, Berkeley\, and is Professor at Northeastern University\, where he co-founded the music technology program. \n  \nAigerim Seilova and Steffen Lohrey: Breath Mechanics (World Premiere 2026)\nfor two soprano saxophones\, string ensemble\, and live electronics \nThis work is a composition for two soprano saxophones\, string ensemble (4.4.4.2)\, and 8.1 live electronics\, submitted for the ICMC Special Call 1: Ensemble Resonanz . The piece serves as a spectral dialogue with Clarence Barlow’s Im Januar am Nil\, adopting his strategies of timbral fusion and hocketing but transposing them into the age of Machine Learning. The central material is derived from “ChordsNest\,” a multiphonics palette extension for MaxScore\, which is repurposed here as a training set for a neural network. The compositional core is an “AI Translation Error” in which the model was tasked with reconstructing the cylindrical bore spectra of the digital archive using the conical bore of the live saxophones and the acoustic textures of the string ensemble. \nThe resulting score is a transcription of the AI’s “hallucinations\,” where the ensemble physically replicates the digital artifacts of the style transfer process. The 8.1 electronics mediate this through a dual-role feedback loop. They function first as a synthesized “externalized memory” of the source spectra and secondly as a live inferencing engine that generates “retrospective hypotheses” by attempting to recover source-states from the acoustic performance. This architecture stages a recursive friction between the explicitly presented digital archive and the machine’s error-prone attempt to reconstruct it through physical sound. \nAbout the composers\nHamburg-based composer Aigerim Seilova integrates acoustics\, electronics\, and interactive media. A doctoral researcher at HfMT Hamburg\, her works are performed by Ensemble Modern and the Norwegian Radio Orchestra at festivals like Tanglewood and Chelsea Music Festival. Awards include the Hindemith Prize\, Leonard Bernstein Fellowship\, and Radio France Prize. She serves as Deputy Chair of the DKV Hamburg\, promoting contemporary music and interdisciplinary exchange. \nBorn in Gießen in 1987\, Steffen Lohrey studied Digital Media with a focus on sound in Darmstadt and Multimedia Composition at the Hamburg University of Music and Drama (HfMT Hamburg). His work exists at the intersection of composition\, installation\, and code. He has been involved in a wide range of projects\, including Picadero with the Haa Collective (presented at venues such as Deltebre Dansa and the Fusion Festival)\, Crawlers with Alexander Schubert (ZKM Karlsruhe)\, and Shibboleth by Aigerim Seilova at HfMT Hamburg. His work and collaborations have been featured at Blurred Edges\, the Teatre Principal Terrassa\, and the GREC Festival\, among others. In addition\, Steffen Lohrey works as an audio engineer and sound designer in Hamburg. \n  \nClarence Barlow: Im Januar am Nil (1984)\nfor 2 soprano saxophones (1st+clarinet\, bass clarinet)\, 4 violins\, 2 celli\, double bass\, piano\, percussion  \nIm Januar am Nil was written in 1981 for Ensemble Köln – the instrumentation: two soprano saxophones\, percussion (five Japanese temple bells\, a Korean gong\, a crotale\, a cymbal\, a side drum and a bass drum)\, a piano\, four violins\, two cellos and a double-bass. In 1984 the completely revised piece was premiered in Paris by Ensemble Itineraire.\nThrough the piece runs a constantly repeated melody\, increasing both in length and density – new tones appear in the expanding gaps\, first in a purely auxiliary function\, but gradually harmonically rivalling the older tones. A single note at the start develops into a flowing melody moving from transparent tonality through multitonality to a dense self-destructive atonality.\nAt first the melody is played almost inaudibly by the bass clarinet\, amplified by overtones heard as natural harmonics in the strings: the resultant timbre is phonetic\, based on a Fourier analysis of German sentences (as for instance the title itself) containing only harmonic spectra\, namely liquids\, nasals and semi-vowels. Ideally these “scored Fourier-synthesized” words should be comprehensible\, but an ensemble of seven strings can only be approximative. After a few minutes of bass clarinet and strings\, the piano enters in an explicit rendition of the melody\, developing it as described above and timbrally coloured by “hocketing” soprano saxophones. The double bass now also explicitly plays the melody without further developing it – in a “frozen” state it is contrasted with the piano part and slows down during further repetitions due to its increasing length. \nAbout the composer\nClarence Barlow (1945–2023) was a composer and pioneer of computer music\, born into the English-speaking minority of Calcutta (now Kolkata)\, India. He received his early education there\, studying piano\, music theory\, and natural sciences\, and began composing at the age of twelve. After graduating in science from the University of Calcutta in 1965\, he worked as a conductor and teacher of music theory at the Calcutta School of Music.\nIn 1968\, Barlow moved to Cologne\, where he studied composition and electronic music at the Hochschule für Musik\, alongside studies at the Institute of Sonology in Utrecht. During this period\, he began using computers as a compositional tool\, becoming one of the early figures to explore algorithmic and computer-assisted composition.\nFrom the 1980s onward\, Barlow played a central role in shaping the field of computer music. He was closely associated with the Darmstadt Summer Courses\, where he directed computer music activities for over a decade\, and was a co-founder of GIMIK (Initiative Musik und Informatik Köln). He also held numerous academic positions across Europe\, including at the Royal Conservatory in The Hague\, where he served as Professor of Composition and Sonology and later as Artistic Director of the Institute of Sonology.\nFrom 2006 until his retirement\, Barlow was Corwin Professor of Composition at the University of California\, Santa Barbara. His work is characterized by a unique synthesis of mathematical rigor\, cultural hybridity\, and innovative approaches to musical structure\, making him one of the most distinctive voices in contemporary music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/opening-concert/
LOCATION:Elphilharmonie Hamburg\, Recital Hall\, Platz der Deutschen Einheit\, Hamburg\, 20457\, Germany
CATEGORIES:10-05,Concert,Music,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260510T220000
DTEND;TZID=Europe/Amsterdam:20260510T233000
DTSTAMP:20260423T054053
CREATED:20260421T125335Z
LAST-MODIFIED:20260421T125335Z
UID:10000071-1778450400-1778455800@icmc2026.ligeti-zentrum.de
SUMMARY:Reception
DESCRIPTION:Following the opening concert\, registered conference participants are warmly invited to a reception in the Recital Hall Foyer for an opportunity to meet artists\, researchers\, and fellow attendees in an inspiring setting overlooking Hamburg’s harbor.   \n 
URL:http://icmc2026.ligeti-zentrum.de/event/reception/
LOCATION:Elbphilharmonie Hamburg\, Recital Hall Foyer\, Platz der Deutschen Einheit\, Hamburg\, 20457\, Germany
CATEGORIES:10-05,Special Event
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T090000
DTEND;TZID=Europe/Amsterdam:20260511T223000
DTSTAMP:20260423T054053
CREATED:20260422T142107Z
LAST-MODIFIED:20260422T142107Z
UID:10000221-1778490000-1778538600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 1a: History of Computer Music
DESCRIPTION:Three papers will be presented and discussed: \n\nHyunmook Lim\, The History of Japanese Electroacoustic Music for Piano from the Perspective of Media Genealogy\n\nPaulo C. Chagas\, Beyond Execution: Unrealizability and the Ontology of Sound in Computer Music\n\n\nAndrea Agostini\, Computer-Aided Composition: A Retrospective and Prospective Outlook\n\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-1a-history-of-computer-music/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T090000
DTEND;TZID=Europe/Amsterdam:20260511T223000
DTSTAMP:20260423T054053
CREATED:20260422T142327Z
LAST-MODIFIED:20260422T142327Z
UID:10000222-1778490000-1778538600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 1b: AI & Music
DESCRIPTION:Two papers will be presented and discussed: \n\nHiroshi Yamato\, OrbitScore\, A Domain-Specific Language for Polymetric Live Coding Based on Multilayered Temporal Structures\nYuan Zhang and Xinran Zhang\, Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-1b-ai-music/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (0.016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T100000
DTEND;TZID=Europe/Amsterdam:20260511T183000
DTSTAMP:20260423T054053
CREATED:20260415T092539Z
LAST-MODIFIED:20260417T114151Z
UID:10000111-1778493600-1778524200@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Festival Opening
DESCRIPTION:  \nSounds with Fruits and Vegetables | Photo: feeljazz Festival Jakob Stolz\n\nWe’re kicking off the festival week at Hölertwiete near the Harburg Rathaus S-Bahn station. The Harburg Info center\, run by Harburg Marketing\, will serve as the festival hub for three days. Check out the week’s program\, use our program finder to discover events you might enjoy\, look forward to interactive sound installations\, and explore virtual realities.  \nNo 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-festival-opening/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T103000
DTEND;TZID=Europe/Amsterdam:20260511T133000
DTSTAMP:20260423T054053
CREATED:20260421T120404Z
LAST-MODIFIED:20260421T124211Z
UID:10000164-1778495400-1778506200@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Pavlos Antoniadis: Lanthánon Chóros (Latent Space): Composing with objets trouvés and AI tools
DESCRIPTION:Derivative of a 5-month long composition workshop at the Greek National Opera\, Lanthánon Chóros (Greek for “latent space”) proposes an introductory 3-hour long workshop for multimodal composition beyond the score and the DAW\, where “objets trouvés” (found objects) are processed through ethical and sustainable AI tools. Such practice should be understood as critically opposing popular practices for music generation through tools like Suno or Udio.\nThe target group of 10-15 active and 10-15 passive participants comprises computer music practitioners – both composers and/or performers – with an interest in theoretical and practical aspects of AI composition. After a rapid introduction to historical\, technical\, conceptual\, aesthetic and legal issues\, the participants will be guided into composing a short excerpt for the facilitator’s setup (grand piano\, ROLI Seaboard RISE 2 MPE controller\, R-IoT and MUGIC)\, to be performed in situ\, according to the following plan:\n\n\n\nTheoretical introduction (≈15m)\nFamiliarization with tools/agents (≈30m)\nMaterial choice/collection (≈15m)\nMultimodal composition (≈60m)\nPresentation and discussion (≈60m)\n\nThe focus will be on efficient workflows\, combination of disparate materials and software tools/agents\, and interaction design\, as well as issues of performativity\, for example the role of the performer in relation to tools or agents and a robust typology of performer’s final control (skill-\, rule- and model-based behavior). Basic knowledge of Max is welcome but not required.\nSome of the questions to be addressed: What are the modalities we may use as first material for multimodal composition with AI? How can we process it and to what degree of input-output similarity? Are the outputs simulacra or authentic prototype works?  What are the ethical and sustainability constraints for tools/agents and materials in terms of copyright and legal requirements?\nRequirements\n\nLaptop\nHeadphones\nSoftware: Max 8 or 9 plus SOMAX2\, INScore\, MuBu\, CataRT\, MaxScore (including DJester)\nselected GesTCom and MUGIC patches to be provided by the facilitator before the workshop\n\nAbout the workshop facilitator\nPavlos Antoniadis is a creative technologist\, pianist and musicologist\, currently Associate Professor at the University of Ioannina\, research collaborator of ismm at IRCAM\, Paris\, and education collaborator of the Greek National Opera in Athens. His AI-related research includes movement modeling\, technology-enhanced learning\, applications in computational and cognitive musicology\, automatic improvisation and multimedia composition\, as well as critical thinking on the biopolitics of musical performance. He holds a prize-winning PhD from the University of Strasbourg and IRCAM\, an MA from the University of California\, San Diego as a Fulbright Scholar\, and an Integrated Master’s from the Department of Music Studies\, University of Athens. He has conducted post-doctoral research at EUR-ArTeC\, Université Paris 8 and at TU-Audiokommunikation Berlin as a Humboldt Stiftung Fellow. He also was Research Fellow of ERC MUTE\, collaborator of ERC REACH at IRCAM and PhD supervisor and lecturer at the Doctoral program of Artistic Research in Music at Lund University\, Sweden. His public speaking on AI includes forums such as the New European Bauhaus and the VOICES Festival in Berlin. Next to research and teaching\, he has performed\nin Europe\, North and South America and Asia\, with new music ensembles and as a soloist. He has recorded for MODE (2015 German Recording Critics Award)\, WERGO and Diatribe records.\n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-pavlos-antoniadis-lanthanon-choros-latent-space-composing-with-objets-trouves-and-ai-tools/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T123000
DTSTAMP:20260423T054053
CREATED:20260415T131036Z
LAST-MODIFIED:20260421T142303Z
UID:10000128-1778497200-1778502600@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 2: Music Information Retrieval
DESCRIPTION:Three papers will be presented and discussed:\n\n\n\nAxel Berndt\, Aida Amiryan-Stein\, Manuel Peters\, Meinard Müller and Stefan Balke\, ChoraleWind: An Expressive Wind-Quartet Dataset for End-to-End Rendering from the Neues Thüringer Choralbuch\n\n\n\nMário Pereira\, António Sá Pinto\, Treasa Harkin and Gilberto Bernardes\, Computational Analysis of Expressive Tempo in Irish Traditional Dance Music\n\n\nGilberto Bernardes\, Nádia Moura and António Sá Pinto\, Perpetual Dialogues: A Computational Analysis of Voice–Guitar Interaction in Carlos Paredes’s Discography\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-2-music-information-retrieval/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (0.016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T173000
DTSTAMP:20260423T054053
CREATED:20260421T181209Z
LAST-MODIFIED:20260421T181209Z
UID:10000184-1778497200-1778520600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 2
DESCRIPTION:430-+\nAyako Sato \nFMVP!\nGuanjun Qin \nLunar Current\nChufan Zhang\, Jun Wang and Qi Liu \nSawa\nAkiko Hatakeyama \nSuwol for Tape\nSeongah Shin \nTake Me Back to Indonesia\nBoyi Bai \nVentward\nEd Osborn \nWoody\nAdrian Kleinlosen \nZen to Hearth\nYu Linke \n 
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-2-1/
LOCATION:Hamburg University of Technology\, Building A (0.014)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T173000
DTSTAMP:20260423T054053
CREATED:20260421T183941Z
LAST-MODIFIED:20260421T183941Z
UID:10000183-1778497200-1778520600@icmc2026.ligeti-zentrum.de
SUMMARY:Listening Room 1
DESCRIPTION:Plight of the Monarch\nSalvatore Siriano \nAxis of Frost\nLiuyang Tan and Tan Liuyang \nscanning for video\nKeisuke Yagisawa \nVeil-Audiovisual performance with real-time motion detection by Media Pipe\nYiting Shao \nEbow Supernova\nCristiano Riccardi \nInterwoven Realms: The Threefold Domain of Consciousness\nQing Ye and Yuxue Zhou \nOkinawa Blue Note\, Recalled\nYerim Han \nQuantum Sphere & Sound Sympathy — Composed for Guzheng and Quantum Computing\nWeijia Yang \nThe Orphic Shimmer onto the 192 Steps\nWanjun Yang \n Transcendence: Performance without Presence\nJinwoong Kim \nTriangulation\nTalia Amar\, Talia Amar and Talia Amar \nWhispers That Are Heard\nJingfan Guo \nLabyrinthe Souriant (Smiling Labyrinth)\nShih-Lin Hung and Ju An Hsieh \nEchoes of the dial\nYunpeng Li
URL:http://icmc2026.ligeti-zentrum.de/event/listening-room-1-1/
LOCATION:Hamburg University of Technology\, Building A (0.018)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Listening Room,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T093948Z
LAST-MODIFIED:20260421T095126Z
UID:10000142-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Miles Friday: "Breathwork"
DESCRIPTION:Breathwork is a twelve-channel sound installation where loudspeakers become breathing bodies. Each loudspeaker is encased in an inflatable bag that swells and contracts in response to low-frequency drones\, forming a slow\, ever-shifting breath-like choreography. \nWithin this field of motion\, clouds of layered just intonation partials drift in and out of perception\, while low frequencies create a base of acoustic beating and Shepard tone-esque glissandos. By transforming the loudspeaker into a pneumatic pump\, Breathwork reimagines the loudspeaker as a tool for visual synthesis\, where vibrations in the air animate inflatables as kinetic sculptures—synthetic lungs whose movement create polyrhythms that can be both seen and heard. \nAll audio is generated live via SuperCollider and is running on two Bela Mini Multichannel Expanders. \nAbout the artist\nMiles Jefferson Friday is an artist who focuses on sound as his primary medium. Building new instruments\, composing music\, designing sound sculptures\, and creating immersive installations\, his practice invites us to reconsider how we hear and listen. Miles is currently an Assistant Professor of Digital Music at University of Texas at San Antonio\, holds a DMA and MFA from Cornell University\, and an MA from the Eastman School of Music. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-miles-friday-breathwork-1-2/
LOCATION:Hamburg University of Technology\, Building A (Foyer)\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T095644Z
LAST-MODIFIED:20260421T095644Z
UID:10000144-1778497200-1778522400@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-1/
LOCATION:Hamburg University of Technology\, Building A\, Videospace I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T100042Z
LAST-MODIFIED:20260422T143046Z
UID:10000153-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Dahye Seo: "Unscored"
DESCRIPTION:Sonic Flight transforms the live movement of birds over the skies of Berlin into a poetic soundscape\, where each bird’s flight is mapped onto a musical staff or piano surface. As birds glide\, swoop\, and flutter across the video feed\, their trajectories become sonic gestures—like notes traced in the air—creating an ephemeral composition in real time. Visitors experience a spatialized auditory environment where the motion of the birds is rendered as musical flow and texture\, bridging natural movement and sound. The work explores the translation of fleeting\, living patterns into audible forms\, inviting audiences to perceive the subtle interplay between urban wildlife and sound. By turning the sky into a dynamic score\, Sonic Flight emphasizes the continuous flow of life\, the poetic potential of non-human agency\, and the immersive possibilities of real-time sonification. \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-1/
LOCATION:Hamburg University of Technology\, Building A\, Videospace II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T191005Z
LAST-MODIFIED:20260421T200038Z
UID:10000190-1778497200-1778522400@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-1/
LOCATION:Hamburg University of Technology\, Outdoor Area I\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T191718Z
LAST-MODIFIED:20260421T200706Z
UID:10000193-1778497200-1778522400@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-1/
LOCATION:Hamburg University of Technology\, Outdoor Area II\, Am Schwarzenberg-Campus 1\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T110000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260421T192918Z
LAST-MODIFIED:20260422T141802Z
UID:10000197-1778497200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Finlay Graham: an egg with fouled neurons
DESCRIPTION:an egg with fouled neurons is a variable duration installative performance on a synthesizer fully coded by the composer in MaxMSP which utilizes a post-tonal framework to transform large harmonic sets\, preserving the fidelity of harmonic intervals while transforming harmonic identity\, allowing for movement through a complex harmonic pattern. Through a 1-4 hour long performance\, this unbound harmony is explored within a spatialized environment. “The egg lacks organs and cellular structure\, but it could be alive. When vibrated\, it would notice the each simplified frequency. If you apply equal pressure to all sides\, it doesn’t break\, but moments of concentration are dangerous. If permeated and submerged\, it’s unclear where the egg begins\, and what is inside.\nThis work is structurally built around the frequency at 440 Hz (A4)\, but temporally it moves moves through 8 sections: \n1. the breath\n2. Subconscious initiation\n3. Embodiment/mirroring\n4. silence\n5. onset\n6. liberation\n7. oneness and death\n8. contraction \nAbout the artist\nFinlay Graham (b. 2005\, he/him)\, is an American composer and educator based in Asheville\, North Carolina and Oberlin\, Ohio whose work is inspired by nature\, spirituality\, emotion\, and intimacy.\nGraham is currently enrolled at Oberlin College and Conservatory studying Music Composition and Neuroscience with a minors in Music and Cognition and TIMARA (Technology in Music and Related Arts). He currently studies composition under Jesse Jones. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-finlay-graham-an-egg-with-fouled-neurons/
LOCATION:Hamburg University of Technology\, Building N (Foyer)\, Eißendorfer Straße 40\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260423T054053
CREATED:20260421T092055Z
LAST-MODIFIED:20260421T092055Z
UID:10000133-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Windisch\, Peng & v. Coler: "MESH"
DESCRIPTION:MËSH is an immersive\, networked music and media system that blends interactive installation with live performance. Developed since 2019\, MËSH uses a distributed array of interactive nodes to create a responsive audiovisual environment. Depending on the venue\, installations range from 4 to 16 interconnected nodes communicating over a wireless local network. \nEach node processes real-time movement captured by its camera using custom computer-vision software. These motion signals drive local sound generation in SuperCollider and trigger sample playback drawn from a curated library of field recordings and media fragments. Sounds are spatialized across the network\, forming a shared\, evolving soundscape shaped directly by audience interaction. \nMËSH also functions as a performance instrument: synchronized graphical scores are displayed across all nodes\, enabling musicians to perform within the same reactive ecosystem. This latest iteration continues MËSH’s exploration of distributed creativity and collaborative sensing. \nAbout the artist\nHenry Windish is a graduate student at Georgia Tech. His work focuses on computer music systems\, audio software development\, and collaborative tools for performance and education. He contributes to the design and implementation of networked performance platforms and supports projects involving SuperCollider\, audio networking\, computer vision\, and interactive media. Previously\, he studied electrical engineering at Washington University in St. Louis.\nTristan Peng is a PhD student at Georgia Tech exploring interaction design\, spatial audio\, and sonification; previously studying at CCRMA at Stanford University. His work aims to create accessible\, artful\, and interactive ways for people to experience sound. His current projects investigate how data can become a medium for participation and how immersive audio spaces can evoke emotion and understanding in ways that traditional visualizations cannot.\nHenrik von Coler is a musician and researcher. In 2024 he founded the Lab for Interaction and Immersion at Georgia Tech. Before that he was the director of the Electronic Music Studio at TU Berlin. Henrik’s research explores interface design\, algorithms for sound generation and experimental concepts for composition and performance. In 2017 he founded the Electronic Orchestra Charlottenburg 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 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-windisch-peng-v-coler-mesh/
LOCATION:Stellwerk Hamburg\, Hannoversche Straße 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T120000
DTEND;TZID=Europe/Amsterdam:20260511T200000
DTSTAMP:20260423T054053
CREATED:20260421T093204Z
LAST-MODIFIED:20260422T144350Z
UID:10000135-1778500800-1778529600@icmc2026.ligeti-zentrum.de
SUMMARY:Installation | Adriano C. Monteiro & Rafaela B. Pires: "DE/RE:GENERATION"
DESCRIPTION:De/Re:Generation stems from a speculative question: would cicadas sense acoustic information during the up to 17 years they live underground\, before emerging from the soil for a brief adult phase marked by intense acoustic display? From this perspective\, the installation approaches sound not only as an auditory phenomenon\, but as something sensed through the body\, making vibration and tactile perception central to the experience.\nAt the core of the work are rounded\, shell-like sculptures molded from biodegradable cassava-starch bioplastics. These forms visually echo cicada nymphs and exuviae: fragile\, hollow exoskeletons that signal absence\, transfor-mation\, and continuation. Like the remnants left after metamorphosis that nourish other species\, the installation’s ma-terials participate in an ongoing process of regeneration: they deform over time\, respond to humidity and dryness\, and become alternately more rigid or more flexible\, like a living skin in dialogue with the environment. Integrated as touch interfaces\, the bioplastic sculptures function as tactile sensing surfaces that mediate the interaction with the sound en-vironment formed by vibrating surfaces and low-frequency sound fields\, that allude to the cicada’s aboveground and underground sonic worlds\, blurring boundaries between tactile and auditory modes of perception\, organic material and inorganic technological systems. \nAbout the artists\nAdriano Monteiro is a music composer and researcher. His work focus on the convergence of art\, science and technology for creative processes\, performance and analysis of music. He is the author of eletroacustic and intermedia works in different media and formats\, such as acousmatic\, live electronics\, audiovisual performances and installations\, network and telematic music\, and also author and coauthor of several articles concerning creative processes in music and musical analysis. Adriano Monteiro is an associate professor of Music Composition at the School of Music and Scenic Arts of Federal University of Goiás (EMAC/UFG). He studied music composition at the University of Campinas (UNICAMP) and holds a PhD in music from the same institution. \nRafaela Blanch Pires is a designer and professor at the Scenic Arts department at the Federal University of Goiás (Brazil). Her background is in fashion design\, MA in “Fashion and Textiles” and PhD in “Design and Architecture” (São Paulo University). Between 2015 and 2016 she worked as a doctoral visiting student at the “Wearable Senses Lab” at the Technical University of Eindhoven (Holland). She experiments with the areas of bio-materials\, digital fabrication\, special effects make-up\, costume design and electronics. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/installation-adriano-c-monteiro-rafaela-b-pires-de-regeneration-1/
LOCATION:Stellwerk Hamburg (Lounge)\, Hannoversche Str. 85\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Installation
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T130000
DTEND;TZID=Europe/Amsterdam:20260511T153000
DTSTAMP:20260423T054053
CREATED:20260415T101559Z
LAST-MODIFIED:20260420T115033Z
UID:10000112-1778504400-1778513400@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Workshop: Code the Beat – Learn to Code through Music
DESCRIPTION:Coding through Music | Photo: ligeti center\n  \nIn this workshop\, you will compose your own music using the program Sonic Pi. Are you passionate about music? Then you’ll discover a new form of expression while learning to code. You already know a little bit about coding? Then you’ll get to know music-making from a different perspective. By the end of the workshop\, you’ll have composed a song and learned something new about coding.  \nFor children and teenagers from age 10 to 14.\nRegistration required here   \n  \nThe Off-ICMC\nMusic is what brings us together\, even when everything else pulls us apart.\nMusic everywhere—it is part of our everyday lives. And yet\, we’re hearing it performed live on analog instruments less and less. Instead\, it often reaches us through speakers or headphones\, as files\, from the cloud. What does music mean to you? What does it sound like today? Where does it begin—and where does it end?\nThe ligeti center invites you to listen more closely and discover new sounds—to explore\, experiment\, and play. This year\, ICMC HAMBURG 2026 revives an old tradition: the Off-ICMC\, a free and accompanying festival curated for the general public and anyone curious about computer music. \nAll Off-ICMC events are free of charge.  \n\n  \n \n 
URL:http://icmc2026.ligeti-zentrum.de/event/off-icmc-workshop-code-the-beat-learn-to-code-through-music/
LOCATION:Hamburg University of Technology\, Building E (0.02)\, Am Schwarzenberg-Campus 3\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T133000
DTEND;TZID=Europe/Amsterdam:20260511T153000
DTSTAMP:20260423T054053
CREATED:20260421T084731Z
LAST-MODIFIED:20260422T104524Z
UID:10000077-1778506200-1778513400@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 1A
DESCRIPTION:After the Opening Concert of ICMC HAMBURG 2026\, the regular music program begins today. This first Lunch Concert offers an insight into the current international computer music scene. What makes this event special is the personal presence of the artists: the composers are either on stage themselves or have brought the musicians they wrote for with them to Hamburg.\nIt is a program of short distances between idea and sound. The works demonstrate how diverse collaboration between humans and technology can be today—from the classical solo clarinet to interactive formats. \n  \nProgram Overview\nTyche\nSever Tipei \nAIKYAM\nClaudia Robles Angel \nHOTPO\nMichael Edwards \nTessellae\nRodrigo Cadiz \nThe Center of the Universe\nSunhuimei Xia and Sunhuimei Xia \n  \nAbout the pieces & artists\nSever Tipei: Tyche \nTyche for Bb clarinet and fixed media is a composition generated with original software for Computer-assisted (algorithmic) Composition and sound design developed by the composer and his collaborators.\nDivided into four main sections of 2-3-1-2 minutes\, the work utilizes stochastic distributions\, Markov chains\, sieves and Just Intonation as well as detailed control of spectra\, FM transients\, spatialization and reverberation. A basic framework of precise proportions and deterministic procedures are complemented by random details governed by Tyche\, the goddess of fortune\, chance\, providence and fate. \nAbout the artist\nA composer and a pianist\, Sever Tipei was born in Bucharest\, Romania\, and immigrated in the United States in 1972. He holds degrees in composition from the University of Michigan (DMA) and piano performance from Bucharest Conservatory (Diploma). Tipei taught at Chicago Musical College of Roosevelt University and\, between 1978 and 2021\, at the University of Illinois at Urbana-Champaign School of Music. After retirement Tipei continues to teach in the School of Information Sciences where he also directs the “James W. Beauchamp Computer Music Project”. He is also a National Center for Supercomputing Applications Faculty Affiliate. Between 1993 and 2003 Tipei was a Visiting Scientist at Argonne National Laboratory where he worked on the sonification of complex scientific data.\nMost of his compositions were produced with software he designed: MP1 – a computer-assisted composition program first used in 1973\, DIASS – for sound synthesis and M4CAVE – software for the visualization of music in an immersive virtual environment. More recently\, Tipei and his collaborators have developed DISSCO\, software that unifies computer-assisted (algorithmic) composition and (additive) sound synthesis into a seamless process. His compositions have been performed in the US\, Australia\, Brazil\, France\, Germany\, Italy\, Portugal\, Romania\, Spain\, United Kingdom and Taiwan. \n  \nClaudia Robles Angel: AIKYAM \nAIKYAM is a real-time surround sound work for 1 performer and 5 to 6 participants (audience) inspired by Kuramoto’s mathematical model of the spontaneous order or synchronisation system in nature\, e.g. fireflies\, heart rates or humans clapping their hands together. The term AIKYAM is based on the Sanskrit word: ऐक्यम\, and it means unity or harmony. \nAbout the artist\nBorn in Bogotá (Colombia)\, living in Cologne (Germany). Composer\, sound and new media artist\, her work covers different aspects of visual and sound art\, extending from acousmatic and audio-visual compositions to interactive performances/installations using biomedical signals and AI (Artificial Intelligence).\nShe has been Artist-in-residence in several outstanding institutions around the globe. In 2022 was awarded with an honorary mention by the GIGA Hertz award at ZKM Center.\nHer work has been performed and exhibited worldwide e.g. at ZKM\, ISEA; KIBLA Centre Maribor\, CAMP Festival – 55 Venice Biennale Salon Suisse\, ICMC; New York City Electroacoustic Music Festival; NIME; STEIM; Harvestworks Digital Arts Center NYC\, Heroines of Sound Berlin; Audio Art Festival Cracow; MADATAC Madrid; Athens Digital Art Festival ADAF\, CMMAS Morelia; Beast FEaST Birmingham; ICST ZHdK Zurich; RE:SOUND Aalborg; Electric Spring Festival Huddersfield; AI Biennal Essen; at the Centre for International Light Art Unna and more recently at Acht Brücken Festival Cologne and at the Philharmonie Essen. \nwww.claudearobles.de \n  \nMichael Edwards: HOTPO \nHinting at something a little more coarse\, the title HOTPO is in fact a completely innocent reference to the Collatz Conjecture. This mathematical proposition\, also known by other names\, refers to a succession of numbers called the hailstone sequence (or wondrous numbers)\, because their values usually ascend and descend like hailstones in a cloud.\nThough the mathematical proof of the conjecture is complex\, the proposition is very simple: Take any positive whole number; if it is even\, divide it by two; if it is odd\, multiply it by three and add one (hence the acronym Half Or Three Plus One: HOTPO); repeat the process with the result and you will find that no matter which number begins the process\, you will always\, given enough iterations\, reach one.\nThe algorithm is easy to programme and experiment with plus it produces rather nice images when given different starting numbers and plotted over various iterations. I used the algorithm in this piece to generate section lengths and repeated structures from nine basic rhythm sequences\, hence my sequence was 9 28 14 7 22 11 34 17 52 26 13 40 20 10 5 16 8 4 2 1. The piece alternates sections opposing mixed materials (odd section numbers) with obsessively repeated material (even). The numbers are also used for the generation of the sound files triggered during the performance. Despite the rather abstract nature of the generative procedure\, the results of the algorithms were developed intuitively and the piece as a whole arises out of and proceeds through a maelstrom of events fitting to the imagery of a hailstorm.\nHOTPO was commissioned by Henrique Portovedo for the World Saxophone Congress 2018 in Zagreb. That version included an ensemble. In 2020 I reworked the sound files to include MIDI data from the ensemble and made a solo + computer version. This was revised in 2024. \nAbout the artist\nI’m a composer\, improvisor\, software developer\, and since 2017 Professor of Electronic Composition at ICEM\, Folkwang University of the Arts\, Essen\, Germany.\nI’m the programmer of the slippery chicken algorithmic composition package. My compositional interests lie mainly in the development of structures for hybrid electro-instrumental pieces through the integration of algorithmically produced scored materials with similarly generated computer-processed sound. I also improvise on laptop\, saxophones\, and MIDI wind controller\, performing for instance at the 2008 Montreaux Jazz Festival.\nI studied composition at Bristol University with Adrian Beaumont (BA\, MMus) and privately with Gwyn Pritchard. In 1991 I moved to the US for further studies in computer music with John Chowning at CCRMA\, Stanford University (MA\, Doctor of Musical Arts). Whilst studying there I also worked at IRCAM\, Paris\, with a residence grant at Cité des Arts.\nDuring 1996-7 I was a consultant software engineer in Silicon Valley. I developed a Document Recognition System used in several US hospitals. In 1997 I was appointed Lecturer in Music Theory at Stanford but later that year moved to Salzburg\, Austria. I was Guest Professor at the Universität Mozarteum until I left to teach at the University of Edinburgh in 2002. \n  \nRodrigo Cadiz: Tessellae \nTessellae for percussion and live electronics unfolds as a mosaic of small rhythmic tiles laid in time by a single performer. The percussion writing is built on Euclidean rhythmic principles\, patterns that distribute events as evenly as possible\, expanded through asymmetric tuplets (notably groups of three and five)\, repetitions\, and carefully placed silences that create a strong sense of anticipation from phrase to phrase. Only one or two instrumental lines sound at a time\, allowing the listener to perceive each gesture as a discrete tessera within a larger rhythmic surface. The live electronics\, built on RAVE\, a real-time variational autoencoder developed at IRCAM and trained on a corpus of percussion sounds\, listen to the performer and respond by reshaping timbre and resonance in the moment\, extending and refracting the acoustic material without fixing it in advance. The result is a dialogue between strict rhythmic architecture and fluid sonic transformation\, where expectation\, delay\, and renewal are central expressive forces. Tessellae was composed for Thierry Miroglio. \nAbout the artist\nRodrigo F. Cádiz is a composer\, researcher and engineer. He studied composition and electrical engineering at the Pontificia Universidad Católica de Chile (UC) in Santiago and he obtained his Ph.D. in Music Technology from Northwestern University. His compositions\, consisting of approximately 70 works\, have been presented at several venues and festivals around the world. His catalogue considers works for solo instruments\, chamber music\, symphonic and robot orchestras\, visual music\, computers\, and new interfaces for musical expression. He has received several composition prizes and artistic grants both in Chile and the US. He has authored around 70 scientific publications in peer reviewed journals and international conferences. His areas of expertise include sonification\, sound synthesis\, audio digital processing\, computer music\, composition\, new interfaces for musical expression and the musical applications of complex systems. In 2018\, Rodrigo was a composer in residence with the Stanford Laptop orchestra (SLOrk) at the Center for Computer-based Research in Music and Acoustics (CCRMA)\, and a Tinker Visiting Professor at Stanford University. In 2019\, he received the prize of Excellence in Artistic Creation from UC\, given for outstanding achievements in the arts. In 2024\, he was a visiting researcher at the Orpheus Instituut in Belgium. He is currently full professor at the Music Institute and Electrical Engineering Department of UC. \n  \nSunhuimei Xia and Sunhuimei Xia: The Center of the Universe\nThe Center of the Universe\, an algorithmic music work integrated with interactive technology\, draws inspiration from the artist’s immersive impressions of New York City gleaned through multiple on-site visits. Standing atop the Empire State Building\, the artist perceived the metropolis as a dynamic global nexus where people of diverse cultural and ethnic backgrounds converge\, weaving a vibrant\, multifaceted urban tapestry that resonates with the energy of an interconnected world. Taking the phrase “The Center of the Universe” as its foundational sonic material\, the work delivers innovation through experimental multilingual vocal manipulation—deploying the core line in English\, Spanish\, French\, German\, Italian\, Russian\, Chinese\, Japanese\, Korean\, and Thai—with all vocal textures sourced from sampled macOS AI voices\, blending computational sound synthesis with linguistic diversity to push the conventional boundaries of vocal-based algorithmic composition. It achieves nuanced translation by converting the artist’s subjective perceptual experience of the city into an audible\, interactive sonic landscape\, while translating the abstract idea of cross-cultural convergence into tangible musical logic via the layered interplay of multilingual vocal samples. Further embodying participation\, the piece adopts wireless Nintendo Wiimote Controllers as its interactive performance interface\, enabling the performer to stand at the “center” of the stage and manipulate the musical structure in real time; this design redefines the dynamic between creator\, performer\, and audience\, turning the performance into a collaborative process where physical movements directly shape sonic evolution. \nAbout the artist\nSunhuimei Xia\, Associate Professor of Art and Technology at Wuhan Conservatory of Music’s Composition Department\, Dr. Xia holds a Master’s from Johns Hopkins University and a Doctorate from the University of Oregon (U.S.). Mentored by renowned composers Jian Feng\, Jian Liu\, Geoffrey Wright\, and Jeffrey Stolet.\nAs central and western China’s first DMA in data-driven musical instrument composition and performance\, this accomplished composer focuses on computer music creation and music-technology integration\, with core interests in interactive data-driven instruments\, algorithmic composition\, and data sonification.\nHonored as a Music Entrepreneurship and Innovation Talent by the Ministry of Culture and an Outstanding Young and Middle-Aged Literary and Art Talent by Hubei Federation of Literary and Art Circles\, her works won the Hubei Golden Bianzhong Music Award\, with over 10 pieces showcased at top global events including ICMC\, ISMIR\, NIME\, SMC\, SEAMUS\, NYCEMF\, EMM\, IRCAM\, WOCMAT and Musicacoustica-Beijing.\nShe released China’s first DVD album of data-driven instrument works\, published by Shanghai Music Publishing House and Shanghai Literature & Art Audio-Video Electronic Publishing House. She guided students to secure 20+ domestic and international awards\, leads provincial projects and participates in the Ministry of Education’s Humanities and Social Sciences Youth Fund Project\, driving music-technology innovation.
URL:http://icmc2026.ligeti-zentrum.de/event/concert-1a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T153000
DTEND;TZID=Europe/Amsterdam:20260511T160000
DTSTAMP:20260423T054053
CREATED:20260421T083405Z
LAST-MODIFIED:20260421T083405Z
UID:10000146-1778513400-1778515200@icmc2026.ligeti-zentrum.de
SUMMARY:Introduction & Welcome to ICMC HAMBURG 2026
DESCRIPTION:ICMC HAMBURG 2026 welcomes this year’s conference community to Hamburg. On this first full conference day\, the team shares a few words about the week’s program before Robert Henke gives his keynote about his life as a toolmaking artist. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/introduction-welcome-icmc-hamburg-2026/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,General
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T170000
DTSTAMP:20260423T054053
CREATED:20260421T082545Z
LAST-MODIFIED:20260422T143423Z
UID:10000078-1778515200-1778518800@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | Robert Henke: "My Life as a Toolmaking Artist: A Personal Reflection on the Challenges and Rewards of Building My Own Instruments"
DESCRIPTION:I had the privilege of witnessing—and participating in—the historic shift of computer-generated music from an academic pursuit to something accessible in a bedroom studio. I embraced this opportunity wholeheartedly\, using environments like IRCAM’s Max to explore new sonic and structural territories. This allowed me to move beyond the constraints of physical instruments I could afford\, the limitations of my own hands\, and the rigid mental models of established MIDI sequencing software. \nDriven by a desire to achieve unique and personal results with limited computing power and knowledge\, I came to value the creative freedom found in self-imposed limitations. This experience led to a deep appreciation for simple yet powerful concepts\, algorithms\, and interfaces. \nSince the beginning\, my music emerged from an iterative process: building instruments\, being surprised and inspired by the results\, and then revising the instruments in response. The insights I gained not only informed a successful commercial product but\, more importantly\, shaped my identity as an artist and my approach to computer-based creation. \nIn my talk\, I will examine selected works of mine from a critical toolmaker’s perspective: did I reinvent the wheel again\, or did I achieve an artistic outcome which justifies the effort? \n  \nRobert Henke\nRobert Henke is an artistic toolmaker and a toolmaking artist\, exploring the creative potential of technology. His practice spans musical compositions\, concerts\, large-scale audiovisual installations\, and computer graphics. His work frequently involves inventing custom algorithms and machines\, blending rigid structure with controlled randomness. His music channels the raw\, repetitive energy of techno culture\, as well as the intricate details and textures of abstract contemporary works. His visual art builds on the legacies of Minimal Art and early computer graphics pioneers.\nSince 1995\, he has recorded and performed as Monolake\, initially a duo with Gerhard Behles and\, since 1999\, a solo project. His artistic collaborations include works with Marko Nikodijevic\, Tarik Barri\, and Christopher Bauder\, among others.\nHenke is also a co-creator of Ableton Live\, software that revolutionised music production and electronic performance. He lectures and writes on sound and creative computing\, and has taught at institutions such as the Berlin University of the Arts\, Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) and IRCAM in Paris.\nHis installations\, performances\, and concerts have been presented at leading venues worldwide\, including Tate Modern\, Centre Pompidou\, PS1\, MUDAM\, MAK\, Palazzo Grassi\, and countless music festivals. \nMore about Robert Henke: www.roberthenke.com \n 
URL:http://icmc2026.ligeti-zentrum.de/event/keynote-robert-henke/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T160000
DTEND;TZID=Europe/Amsterdam:20260511T180000
DTSTAMP:20260423T054053
CREATED:20260415T101718Z
LAST-MODIFIED:20260421T200931Z
UID:10000113-1778515200-1778522400@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Stilt Performance | Oakleaf Streetshow: Insect-o-lectic"
DESCRIPTION:Oakleaf | Photo: Piet Pabst\n  \nA combination of stilt dancing\, body percussion\, and cutting-edge sound technology. The street performance group Oakleaf Streetshow is headed to Harburg with an interactive walking act. Bizarre\, colorful creatures on stilts buzz through the crowd—creatures that not only look like beetles but sound like them\, too.  \nNo 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-stilt-performance-insect-o-lectic/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T170000
DTEND;TZID=Europe/Amsterdam:20260511T190000
DTSTAMP:20260423T054053
CREATED:20260421T091309Z
LAST-MODIFIED:20260421T124333Z
UID:10000148-1778518800-1778526000@icmc2026.ligeti-zentrum.de
SUMMARY:Workshop | Serge Lemouton et al.: Practical Documentation and Collaborative Preservation using Antony
DESCRIPTION:The goal of this hands-on workshop is to show\, for the first time in an international context\, the Antony system\, now in its final state and fully functional.\nThe Antony platform provides a structured system for archiving\, documenting\, and accessing mixed music works materials to ensure long-term preservation and reuse. The Antony project addresses the difficulty of preserving artistic works that rely on evolving and often incompatible technologies. It highlights how the survival of these works depends on a small group of experts capable of updating and maintaining their digital components.\nAt the end of this workshop\, the participants will be able to use the database to document\, distribute and preserve their own creations. \nRequirements\nThis workshop primarily addresses composers\, computer music designers or performers\, but it can also be of interest for media artists\, musicologists\, documentalists and music publishers.\nThe participants should come with the media related to an existing artistic project of their own that they wish to editorialize and preserve. \nAbout the workshop facilitators\nSerge Lemouton \nComputer Music Designer – Institut de Recherche et Création Acoustique/Musique – Centre Georges Pompidou (IRCAM-CGP) \nSince 1992\, Serge Lemouton works as a computer music designer at IRCAM\, collaborates with researchers to develop computer tools and has taken part in the production and public performances of numerous composers’ musical projects. He is currently working on score following systems\, analysis of instrumental gesture and constraint programming for computer assisted composition. His current research work leads him to study the transmission and preservation of the computer music repertoire. \n  \nJacques Warnier \nResearch Engineer\, Ministry of Culture – Computer Music Realizer (RIM)\, Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) \nSince 2007\, Jacques Warnier has supported the composition and new technologies class at CNSMDP\, producing concerts and performing live electronics for mixed repertoire works. After earning the Saint-Etienne Master’s degree in Computer Music Design in 2015\, he joined the Ministry of Culture as a research engineer in 2016.\nHis role combines musicianship and engineering to create the artistic and technical conditions required for performing 20th- and 21st-century music involving audio-digital technologies. His research focuses on making this repertoire accessible to students: curating works by instrument\, acquiring scores and electronic parts\, cataloging them in the Hector Berlioz media library\, and preserving or reconstructing electronic components.\nHe is a member of the AFIM working group on “Collaborative Archiving and Creative Preservation” (since 2018)\, now “Antony\,” and participates in the Humanum consortium for digital musicology (Musica2) since 2022. \nMalena Fouillou \nAn acoustic engineer and computer music producer\, Malena has had a wide-ranging career. After completing her higher education studies in acoustics\, she joined Ircam in 2022 and graduated with a master’s degree in ATIAM (Acoustics\, Signal Processing\, Computer Science for Music). It was only natural that she joined the Next ensemble of the Paris Conservatory\, in partnership with the Ensemble Intercontemporain. This training allowed her to study with distinguished RIMS professors such as Arshia Cont\, Augustin Müller\, and Andrew Gerszo\, and to perform works by Marco Stroppa\, Pierre Boulez\, Martin Matalon\, and others. Currently pursuing her PhD at Paris 8\, her research focuses on qualitative and\nquantitative descriptions of the spatiality of sound. She is part of a working group composed of Serge Lemouton (Ircam)\, Jacques Warnier (CNSMDP)\, Laurent Pottier (ECLLA-UJM) on the Antony project\, a collaborative platform for the preservation and sharing of musical heritage using digital technologies. \nLaurent Pottier \nProfessor of Musicology & Computer Music at Jean Monnet University (Saint-Etienne-France)\, ECLLA laboratory \nLaurent Pottier is a professor of Musicology & Computer Music at UJM (Saint-Etienne University). He is the headmaster of the RIM (Réalisateur en Informatique Musicale / Computer Music Producer) professional Master and of the DIGICREA (Digital Creativity – Arts & Sciences) international EMJM Master. His research at the ECLLA laboratory\, Saint-Etienne University involves music using electronic and digital technologies. He taught at Ircam (1992-1996)\, then\nheaded the research department at GMEM in Marseille (1997-2005). As a RIM\, he has worked with many composers and in particular with J.-B. Barrière\, J. Chowning\, T. De Mey\, A. Liberovicci\, C. Maïda\, A. Markeas\, F. Martin\, T. Murail\, J.-C. Risset\, F. Romitelli\, K.T. Toeplitz. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/workshop-serge-lemouton-et-al-practical-documentation-collaborative-preservation-using-antony/
LOCATION:Hamburg University of Technology\, Building H (0.02)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Workshop
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T180000
DTEND;TZID=Europe/Amsterdam:20260511T190000
DTSTAMP:20260423T054053
CREATED:20260415T101813Z
LAST-MODIFIED:20260417T114349Z
UID:10000114-1778522400-1778526000@icmc2026.ligeti-zentrum.de
SUMMARY:[Off-ICMC] Concert: Nenad Nikolić – Accordeon meets Techno
DESCRIPTION:Photo: Boris Las Opolski\n  \nNenad Nikolić was born in Serbia and has always been fascinated by his father and grandfather’s accordion playing. But mechanical sounds are from the past. Nenad plays without backing tracks\, performing every single tone live—from “tango to techno.” Don’t miss this chance to see him push the boundaries of his instrument with his electronic accordion.  \nNo 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-concert-nenad-nikolic-accordeon-meets-techno/
LOCATION:Harburg Info\, Hölertwiete 6\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Music,Off-ICMC
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260423T054053
CREATED:20260421T085527Z
LAST-MODIFIED:20260422T112803Z
UID:10000079-1778526000-1778533200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 1B
DESCRIPTION:This evening concert marks a special collaboration between the international ICMC community and Hamburg’s music scene. At its center is Ensemble 404 from the Hamburg University of Music and Drama (HfMT). For this occasion\, a video wall will be specially installed in the Friedrich-Ebert-Halle to highlight the synergy between sound and image.\nThe program ranges from intimate solo pieces with computer support to complex ensemble compositions and large-scale video works. \n  \nProgram Overview\nFantasy for Viola and Computer\nRichard Dudas \nNeuro Translation Engine\nVincenzo Russo \nClimate II for piano and computer \nRikako Kabashima \nWind Blown Rain\nMara Helmuth et al. \nDelicate Anticipation\nKotoka Suzuki \nAir-Carving Bamboo\nYu Chung Tseng \n  \nAbout the pieces & artists\nRichard Dudas: Fantasy for Viola and Computer\nThis work for solo viola and real-time audio processing in Max is a composed extension of some prior improvisational works using Max. It was written in part as an exploration of Bohlen-Pierce tuning (in the electronics)\, which divides the perfect twelfth into thirteen unequal justly-tuned steps. The viola part is pitted against this\, performing in standard twelve-unequal-steps-to-the-octave tuning\, juxtaposing and combining several different musical fragments\, each with its own character and mood. All sounds in the electronics are live: they are derived from the sounds of the on-stage violist. Max audio processing includes formant filtering to provide a vocal quality to the transposed and resonated viola sounds. \nAbout the artist\nRichard Dudas holds degrees in Music Composition from The Peabody Conservatory of Music of the Johns Hopkins University\, and from The University of California\, Berkeley. He additionally studied at the Franz Liszt Academy of Music in Budapest\, Hungary and the National Regional Conservatory of Nice\, France. In addition to composing music for acoustic instruments\, he has been actively involved with music technology since the late 1980s. As a computer musician\, he has taught courses at IRCAM\, and developed musical tools for Cycling ’74. Since 2007 he has been teaching music composition and computer music at Hanyang University in Seoul\, Korea. \n  \nVincenzo Russo: Neuro Translation Engine\nIn the future\, global societies remain marked by a multitude of languages\, dialects\, idiolects\, and diverse phonetic and cultural systems. Despite advances in AI-driven translation\, fundamental limits persist in the loss of emotional nuance\, imprecise interpretations\, and gaps between what is said and what is perceived. A team of computational linguists and neuroscientists develops an advanced artificial entity: the Neuro Translation Engine (NTE)\, capable of surpassing traditional textual or acoustic translation. The NTE does not translate words\, but the neural intentions behind language. It stimulates a specific area of the human brain\, the resonance cortex\, designed to receive universal neurosensory patterns. The result is a world where everyone can speak their native language while perfectly understanding others. Linguistic diversity is not diminished but enriched through mutual comprehension. The composition for ensemble and electronics illustrates how the NTE processes\, transforms\, and reconstructs communicative material. Through sound transformation techniques\, the acoustic material is dematerialized\, representing the machine’s “internal work”: the conversion of complex signals into a unified code. The final sound is entirely electronic\, devoid of recognizable references to the original ensemble. It forms a new language\, perceived as a pattern directly interpreted by the brain. \nAbout the artist\nVincenzo Russo (1995) holds a bachelor’s degree in Business Administration from the University of Naples “Parthenope.” He began his musical studies in Composition for Visual Media at the San Pietro a Majella Conservatory in Naples under the guidance of the late Maestro Lucio Lo Gatto. In July 2025\, he completed the second-level degree (Master’s degree) in Composition. Alongside his academic work\, he is active as a composer\, arranger\, and music producer\, working from his own recording studio. \n  \nRikako Kabashima: Climate II for piano and computer \nThis work was composed based on a variety of ideas inspired by climate change. In recent years\, translating insights from the natural world into my own compositions has become an important experiment in my creative practice.\nIn particular\, this piece draws inspiration from the rapid climate fluctuations caused by global warming\, a pressing issue worldwide. Each measure in the work is specified in seconds rather than traditional beats\, and there is no fixed meter. Within each measure\, rhythms are performed improvisationally according to the given duration.\nThis approach allows for different rhythms and nuances to emerge in every performance\, reflecting the ever-changing nature of the climate itself. \nAbout the artist\nRikako Kabashima was born in Kagoshima\, Japan\, in 1996. She began studying piano at the age of three and later pursued composition at Senzoku Gakuen College of Music in Tokyo. After completing her undergraduate studies in 2021\, she entered the master’s program in composition at Toho College of Music\, where she studied with Kazuro Mise and Hitomi Kaneko\, and explored computer music under the guidance of Takayuki Rai. She earned her master’s degree in March 2025.\nHer works have been selected at international festivals including the New York City Electroacoustic Music Festival (NYCEMF) in 2023\, the International Computer Music Conference (ICMC) in 2023\, 2024\, and 2025. \n  \nMara Helmuth et al.: Wind Blown Rain\nWind Blown Rain was inspired by natural processes and forces involving water. Water metamorphoses between many opposing states: from a gentle drizzle to a stormy downpour\, from a tiny droplet to a crashing ocean. Life on earth is dependent on water\, and also at its mercy. This piece focuses mainly on the transformed sounds of rain. Samples were recorded in Venice and Ascea\, Italy. The music was composed in Italy in the summer of 2025 at Wassard Elea Artist’s residency in Ascea by a computer music composer and a performer/real-time composer. While most of our collaborations have relied solely on the sound of the performer’s instrument for the computer part\, in this piece the instrumentalist interacts primarily with music created from natural recordings and their processed transformations. A third artist created the video part in response to the music from his own water-related video recordings. \nAbout the artists\nMara Helmuth (b. 1957)\, internationally known computer music composer/researcher\, received a Guggenheim Fellowship in 2025. Her research explores sonification\, granular synthesis\, wireless sensor networks\, Internet2\, and RTcmix. She is Professor at College-Conservatory of Music\, University of Cincinnati\, where she received the George Rieveschl Award for Scholarly / Creative Works at in 2023. She served on the International Computer Music Association board of directors and as President. D.M.A.: Columbia Univ.\, earlier degrees: Univ. Ill. U-C. \nEsther Lamneck\, Clarinet and Tarogato\nThe New York Times calls Esther Lamneck\, “an astonishing virtuoso”She has appeared as a soloist with major orchestras\, with renowned chamber music artists and an international roster of musicians from the new music improvisation scene. http://www.estherlamneck.com/ \nAlfonso Belfiore is a composer and visual artist whose work explores the relationships between sound\, image\, movement\, and perception. Former professor of electronic music at the Conservatories of Florence and Padua\, he has collaborated with international institutions\, creating performances\, sound installations\, and multidisciplinary projects that merge musical innovation with digital art. His recent work investigates memory\, dreamlike space\, and the fragile line between reality and imagination. \n  \nKotoka Suzuki : Delicate Anticipation\nThis work is written as part of the series “In Praise of Shadows\,” inspired by Junichiro Tanizaki’s essay of the same title\, written at the birth of the modern era in imperial Japan. The essay describes how shadows and negative space are integral to traditional Japanese aesthetics in music\, architecture\, and food\, extending even to the design of everyday objects. As Tanizaki explains\, “We find beauty not in the thing itself but in the patterns of shadows\, the light and the darkness\, that one thing against another creates… Were it not for shadows\, there would be no beauty.” \nThe focus of the first of its sequence\, “In Praise of Shadows” for three paper players and electronics is placed on the collective loss of the tangible in our modern life\, analogues to how the excessive illumination of Edison’s modern light affect Japanese aesthetics and culture. Following this work\, “Orison” is composed for three music box players and electronics. The work is further inspired by the voices of children of war\, both from past and present\, speaking and singing about hope\, peace as well as sorrows arising from their personal experiences. These melodies\, presented as empty spaces on the music score\, reveal as they are fed through the music boxes. \nIn the third part of the sequence\, “Delicate Anticipation\,” written for a solo percussionist\, electronics\, and lights\, shadow is the central focus\, honouring the “patterns of shadows\, the light and the darkness\, that one thing against another creates”. Positioned behind the scrim\, the percussionist is only visible as a shadow while performing with lights and instruments primarily of metal and skin\, manipulating patterns of carefully choreographed shadows. The title derives from the English translation of the essay\, which describes the sensation of gazing at the silent liquid in the dark depths of a Japanese lacquerware bowl. As Tanizaki writes\, “What lies within the darkness one cannot distinguish…. …the fragrance carried upon the vapor brings a delicate anticipation.” \nAbout the artists\nKotoka Suzuki’s work engages deeply with the visual\, conceiving of sound as a physical form to be manipulated through the sculptural practice of composition. Artists such as the Arditti Quartet\, Eighth Blackbird\, Nouvel Ensemble Moderne\, and Mendelssohn Chamber Orchestra (Leipzig) have featured her work internationally through numerous venues and broadcasts\, including BBC Radio 3\, Schweizer Radio\, Lucerne Festival\, Heroin of Sound Festival\, Ultraschall\, and ZKM Media Museum. Suzuki is currently an Associate Professor at the University of Toronto. \nMichael Murphy is a Chinese-Canadian percussionist praised by The New York Times\, Opera Canada\, and The Herald. He has toured across North America\, Europe\, Scandinavia\, and Asia\, performing with ensembles including the Toronto Symphony Orchestra\, the National Ballet of Canada Orchestra\, and Philharmonisches Orchester Freiburg. A leading advocate for new music\, he has premiered concertos by Alice Ping Yee Ho\, Liam Ritz\, and Bob Becker and champions contemporary repertoire internationally. \n  \nYu Chung Tseng: Air-Carving Bamboo \n“Air-Carving Bamboo Music” premiered at the 2025 C-LAB Sound Arts Festival_DIVERSONICS . This work is an Acousmatic / electroacoustic music. The material comes from the composer’s field recordings of bamboo colliding on the shores of Emei Lake in his hometown of Hsinchu County in Taiwan. Through editing and transformation using DAW software\, and incorporating feedback material from AI Somax 2 on some of the bamboo collision rhythms\, the work was finally organized into an electroacoustic music piece.\nIn terms of performance style\, the composer wanted to differentiate themselves from traditional purely played electroacoustic music\, creating a synesthetic aesthetic experience for both the ears and eyes\, and letting electroacoustic music visible .\nThe composer invited percussionist Hsieh Yi-chieh to wave glow sticks in the dark\, as if drawing out or sculpting the electroacoustic music in air\, a technique akin to “grabbing music from a distance.” This presentation method\, besides giving electroacoustic music a performative quality\, greatly enhances the visual appeal\, auditory appeal\, and sonic dramatic tension of the performance. Postscript: Having composed electroacoustic music for more than 2 decades\, the composer occasionally wants to dabble in this area\, slightly transcending the aesthetic/philosophical view of “sound-only/purely auditory” in Acousmatic / electroacoustic music listening. \nAbout the artist\nYu-Chung Tseng\, receiving his DMA from UNT in Texas\, is a professor of electronic music composition and serves as the director of multi-channel Sound Lab at Institute of Music at National Yang Ming Chiao Tung University(NYCU) in Taiwan. \nHis music\, written for both acoustic and electronic media\, has been recognized with selection/awards from Pierre Schaeffer International Computer Music Competition (1st Prize/2003)\, Città di Udine International Contemporary Music Competition\, Musica Nova (First Prize/2010)\, Metamorphoses\, International Computer Music Conference(ICMC\, Best Music Award/2011/2015/2022)\,Taukay Edizioni Musicali call for Acousmatic Music(Winner/2019)\, and RMN Classical Electroacoustic call for work(Winner/2023)\,Polish International Electroacoustic Music Competition (Finalist/2023)\, KLANG International Acousmatic Composition Competition(Second Prize/2023) \, and Musica Nova (First Prize/2010). \n 
URL:http://icmc2026.ligeti-zentrum.de/event/concert-1b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T210000
DTEND;TZID=Europe/Amsterdam:20260511T230000
DTSTAMP:20260423T054053
CREATED:20260421T145800Z
LAST-MODIFIED:20260422T111604Z
UID:10000067-1778533200-1778540400@icmc2026.ligeti-zentrum.de
SUMMARY:Club Concert 1C
DESCRIPTION:Immerse yourself in a 20.8-channel sound world: in the Production Lab of the Ligeti Center\, neural synthesis\, artificial intelligence\, and interactive visuals merge into an immersive live experience. International artists present innovative prototypes—from AI-augmented string instruments to dynamic graphic scores. \n  \nProgram Overview\nZwischenheit \nRiccardo Ancona \nKnitting\nBrian Lindgren \nSonic Memories: A Live Coding Performance with Machine-Learned Sound Fragments\nRiccardo Mazza \nGradient Noise: Animated Scores with Corresponding Data Streams\nJohn C.S. Keston \nFluid Ontologies\nNicola Leonard Hein and Viola Yip \nOn The Edge\nKasey Pocius \nScarittera – Subterranean Eruptions of Sonic Memory\nDanilo Randazzo \n\n\n  \nAbout the pieces & artists\nRicardo Ancona: Zwischenzeit \nCosmologies 3 situates the listener inside a virtual grand piano to experience its secret inner life. The piano interior\, recorded with a spherical microphone array\, is complemented by three-dimensional (3-D) field recordings of Paris’s Place Igor Stravinsky. These recordings are highlighted and underlined with computer synthesis using artificial intelligence (AI) to reproduce the spatial presence of acoustic instruments\, while the microcosm of the piano’s inner space expands larger-than-life. \n\nCosmologies 3 is part of a modular series of works that use AI to inform sound spatialization. The situated spatial presence of musical instruments has been well studied in the fields of acoustics and music perception research\, but so far has not been the focus of research on AI and music. Cosmologies seeks to “re-embody” recorded sound using data derived from natural acoustic phenomena in an immersive sonic environment where real and virtual sources blend seamlessly. Cosmologies 3 for Ambisonic fixed media may be performed on its own or directly following Cosmologies for piano and 3-D electronics\, with the fixed media work beginning as the live performer leaves the stage. Although the human–AI interaction in the fixed work is no longer live\, it remains as a trace of the work’s creation process\, refracting the human performer’s presence behind the spatial audio recordings (see Fig. 1). \nCosmologies is among the first works to connect audio descriptor analysis and corpus-based syn- thesis to 3-D spatialization using Higher-Order Ambisonics (HOA) and machine learning (ML). At the same time\, it is the first project connecting the computer programs Max\, Python\, and OM# (Bresson et al. 2017) with the associated packages Spat (Carpentier 2018) and Mubu (Schnell et al. 2009). These software tools are used to draw upon natural acoustic phenomena as source material for spatial sound derived from two sources: one is a 3-D microphone array\, the EM32 Eigenmike by mh acoustics (https://mhacoustics.com/products)\, a 32-channel array used to capture 3-D piano samples as well as ambient field recordings. The other source is generative spatial sound synthesis produced through ML of an existing large database of radiation measurements for acoustic instruments (Shabtai et al. 2017; Weinzierl et al. 2017). This database serves as a training set for ML models to control spatially rich 3-D patterns for electronic synthesis. These two sources of spatial sound are intentionally overlapped and fused so the listener cannot easily distinguish or segregate the sources. The aesthetic goal is to create a setting for curious and detailed listening\, where one may not discern the “sleight of hand” between the superposed 3-D spaces of the sample recordings and computer synthesis. \nAbout the artist\nAaron Einbond’s work explores the intersection of instrumental music\, field recording\, sound installation\, and interactive technology. He released portrait albums Cosmologies with the Riot Ensemble\, Without Words with Ensemble Dal Niente\, and Cities with Yarn/Wire and Matilde Meireles. His awards include a Giga-Hertz Förderpreis\, a Guggenheim Fellowship\, and artistic-research residencies at IRCAM and ZKM. He teaches music composition and technology at City St George’s\, University of London. \n  \nBrian Lindgren: Knitting \nKnitting is a new work for the EV\, an augmented bowed string instrument that integrates IRCAM’s RAVE (Realtime Audio Variational autoEncoder) neural synthesis model. The composition explores how machine learning can extend the timbral vocabulary of a traditional gestural practice—not by imposing external sonic material\, but by folding the instrument’s own acoustic identity back through a neural lens. \nThe EV combines a 3D-printed body with four infrared optical pickups whose signals are processed by a Bela board and transmitted to a laptop running Pure Data. Each string controls an independent synthesis engine comprising convolution\, physical modeling\, granular processing\, reverb\, and ambisonic spatialization. The recent addition of RAVE introduces a self-referential pathway: the model was trained on four hours of the EV’s own recordings\, creating a system that listens to itself through learned representations of its sonic history. \nCentral to this integration is a control strategy that maps performance descriptors—fundamental frequency\, amplitude\, and spectral centroid—to specific dimensions of the model’s eight-dimensional latent space. By constraining each modulation source to a single latent dimension\, the relationship between gesture and neural response becomes legible: a shift in bow pressure or position translates into a navigable timbral trajectory rather than an opaque transformation. This approach distinguishes the EV from other RAVE-integrated instruments\, which often emphasize loop-based or tabletop interfaces rather than continuous bowed-string control. \nKnitting treats this latent space as a landscape of sonic possibility\, each dimension a potential resonance between physical gesture and synthesized response. The compositional process is less one of arranging fixed materials than of cultivating emergent textures—drawing out sonic filaments\, crossing and interlacing them\, balancing tensions across the tapestry. The neural model functions as a meta-resonator: a parallel pathway that refracts the instrument’s timbral identity through an alternate causal route\, revealing aspects of its sound that remain latent in conventional electroacoustic processing. \nThe work demonstrates how neural synthesis can be embedded within a hybrid instrument ecology\, extending expression beyond pitch and amplitude to make performance descriptors direct agents of timbral transformation. By grounding latent navigation in the acoustic features of bowed-string technique\, Knitting positions machine learning not as a replacement for embodied practice but as an expansion of its expressive range. \nAbout the artist\nBrian Lindgren (1983) is a composer\, researcher\, violist\, and instrument builder whose work explores the convergence of acoustic performance and digital synthesis through the EV\, a hybrid string instrument integrating lutherie and embedded computing. \nHis compositions and research have been featured at the International Computer Music Conference (ICMC)\, New Interfaces for Musical Expression (NIME) conference\, Conference on Neural Information Processing Systems (NeurIPS)\, Society for Electro-Acoustic Music in the United States (SEAMUS)\, IRCAM Forum\, and International Conference on Auditory Display (ICAD)\, as well as published in Organised Sound. His work has been performed by ensembles including HYPERCUBE\, LINÜ\, Popebama\, and Tokyo Gen’on Project. \nThe EV was a finalist in the 2026 Guthman Musical Instrument Competition and used to compose ‘two tales from the shadows of the grid’ which won first place at the IEEE Big Data 2025 3rd Workshop on AI Music Generation Competition. \nLindgren holds an MFA in Sonic Arts from Brooklyn College (Subotnick\, Geers\, Gimbrone)\, a BA from the Eastman School of Music (Graham)\, and is pursuing a PhD at the University of Virginia (Burtner). \n  \nRiccardo Mazza: Sonic Memories: A Live Coding Performance with Machine-Learned Sound Fragments \nDrawing from Henri Bergson’s concept of *durée* and Deleuze’s rhizomatic models\, “Sonic Memories” reimagines memory not as a linear chronological archive\, but as a stratified field of coexisting planes. In this live coding performance\, autobiographical sound fragments—from mechanical gears to lagoon soundscapes and fragile voices—are liberated from their timeline and reorganized by an autoencoder into a non-hierarchical\, navigable map. \nThe performance begins with the simple act of loading a personal audio file—a field recording from a journey\, a voice memo\, a musical fragment—into a computational system that immediately begins to analyze and reorganize these sonic memories according to its own logic. \nOn stage\, the audience sees everything: the code acting in real-time\, a visual map where memories become points in space\, oscilloscopes showing the transformation of sound waves. This transparency is essential—there is no mystification of the technological process\, but rather an invitation to witness the negotiation between human remembering and algorithmic interpretation. \nThe performer navigates this latent space using SuperCollider and FluCoMa\, triggering both the original “concrete” traces and their AI-generated “distorted echoes.” The algorithm serves not as an autonomous agent\, but as a refracting lens\, forcing the performer to negotiate between faithful recall and neural hallucination. The result is a fragile dialogue between the fixity of the past and the malleability of the present\, exploring how computational tools can actualize memory as a living\, reconstructive act. \nThe work asks: How do we perform memory in an age of machine learning? Not by having machines remember for us\, but by creating dialogues with computational systems that reorganize our experiences according to their own logic\, forcing us to rediscover our own histories through unfamiliar maps. \nAbout the artist\nRiccardo Mazza (Turin 1963). Composer\, multimedia artist\, and faculty member at the Scuola di Alto Perfezionamento Musicale di Saluzzo. He collaborates with SMET (Electronic Music School) at the Conservatorio di Torino and the Conservatorio Ghedini in Cuneo\, and is internationally recognized for his research in psychoacoustics and spatial audio.\nIn 1997 he began a collaboration with Franco Battiato\, focusing on new technologies for sound. Between 1999–2000 he created the Renaissance SFX library\, the first Dolby Surround encoded spatial effects and field recording collection for cinema and television. Later developed SoundBuilder\, software for object-based surround design presented at AES 2003 in San Francisco\, which anticipated Dolby Atmos.\nHe founded Interactive Sound in 2001\, a research studio dedicated to multimedia exhibitions and immersive installations\, and in 2003 patented a psychoacoustic model of “sleep waves.” With Laura Pol\, he co-founded Project-TO (2015)\, an electronic and visual project that has released four albums and appeared at major festivals including TFF\, TJF\, Robot\, Share Festival.\nSince 2018\, he directs Experimental Studios in Turin\, one of Europe’s leading Dolby Atmos recording facilities. His current project Sonic Earth explores environmental sonification and algorithmic composition\, and has been presented internationally at ICMC 2025 in Boston\, FARM/SPLASH 2026 in Singapore\, SBCM 2025 (Brazil)\, IEEE 2025 (L’Aquila). \n  \nJohn C.S. Keston Gradient Noise: Animated Scores with Corresponding Data Streams\nSince 2019 I have been composing animated graphic scores for ensembles and soloists. These generative works are projected for both the performers and audience to experience. Custom software runs during the performance to create the computer graphics and geometric forms. Rules are established on how the forms are read\, but improvisation and the emotional response of the performer still play an integral part in each piece. Fixed media of this work does not suffice because it lacks the realtime\, generative\, and participatory aspects that create surprise and challenges for the performers. \nMore recently I began composing scores that not only generate animated visuals\, but also stream corresponding MIDI data that impacts the timbre and signal processing of the electronic instruments used by the performers. The instruments are either hardware based synthesizers or virtual instruments within a DAW such as Ableton Live. One of my recent compositions applies these streams of data to four layers of FM synthesis engines running within the Dirtywave M8\, a technically advanced\, modern\, hardware tracker. \nMy newest work in progress\, Gradient Noise\, translates values generated by the Perlin noise algorithm into independent layers of seamless loops repeating at variable intervals. These loops are visualised as geometric forms\, abstract visualisations\, and evolving structures. The data generated is innovative because although aleatoric\, the values can be tuned to range between slowly moving gradients or rapid\, angular forms. When the sound and visuals are synchronized the performer responds not only to the animation but also to the changes in the timbre of their instruments. \nThe debut of Gradient Noise will address the themes of Innovation\, Translation\, and Participation by rethinking the relationships between musicians and machines. By translating the properties of n-dimensional Perlin noise into a musical language\, the piece presents a unified ecosystem with coordinated timbres and geometric forms. The innovation lies in generating a living environment that requires active participation and improvisation in contrast to static notation. Ultimately\, the work presents a contemporary model for computer music where the performer does not simply follow a score\, but negotiates a path through a responsive\, multi-sensory experience. \nAbout the artist\nJohn C.S. Keston is an award winning transdisciplinary artist reimagining how music\, video art\, and computer science intersect. His work both questions and embraces his backgrounds in music technology\, software development\, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores\, chance and generative techniques\, analog and digital synthesis\, experimental sound design\, signal processing\, and acoustic piano. Performers are empowered to use their phonomnesis\, or sonic imaginations\, while contributing to his collaborative work. Keston founded the sound design resource\, AudioCookbook.org\, where you will find articles and documentation about his projects and research. \nJohn has spoken\, performed\, or exhibited original work at SEAMUS (2025)\, Radical Futures (2024)\, New Interfaces for Musical Expression (NIME 2022)\, the International Computer Music Conference (ICMC 2022)\, the International Digital Media Arts Conference (iDMAa 2022)\, International Sound in Science Technology and the Arts (ISSTA 2017-2019)\, Northern Spark (2011-2017)\, the Weisman Art Museum\, the Montreal Jazz Festival\, the Walker Art Center\, the Minnesota Institute of Art\, the Eyeo Festival\, INST-INT\, Echofluxx (Prague)\, and Moogfest. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham. He has appeared on more than a dozen albums\, solo albums\, and collaborative works. \nNicola Leonard Hein and Viola Yip: Fluid Ontologies\nIn “Fluid Ontologies”\, Transsonic (Nicola Leonard Hein and Viola Yip) continues to expand their intermedial artistic practice in performances. For this project\, they developed their laser feedback instruments\, using lasers as sound sources and solar panel microphones. With the incorporation of multichannel spatialization\, Transsonic extends the spatial dimensions\, sonically and visually\, creating a unique audiovisual experience. The project explores and defines new concepts of the instrumentality of light in audio circuits\, bringing together space\, bodies\, and instruments into a dynamic feedback system. \nAbout the artists\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. \nDr. Viola Yip is an experimental performer\, sound artist and instrument builder.\nHer work have been presented and supported by places such as Stanford University\, UC Berkeley\, Harvard University\, Cycling ‘74 Expo\, Hong Kong Arts Center\, Academy of Media Arts Cologne\, Academy of the Arts Berlin\, KTH Royal Institute of Technology Sweden\, Elektronmusikstudion EMS Stockholm\, NOTAM Oslo\, Arter Museum Istanbul\, Serralves Museum of Contemporary Arts Porto and Pinakothek der Moderne in Münich. \nviolayip.com \n  \nKasey Pocius: On The Edge \nOn the Edge is an audiovisual work for video\, T-Stick and surround sound. This audiovisual work explores sounds and images of objects often on the edges of perception our perceptions\, as well as processing and results from edge cases in musical algorithms and technology. \nThe piece consists of four interlayered vignettes\, exploring the behaviour and textural qualities of various edge and peak detection algorithms to create the fixed media. These files are then used for the corpus for the granular synthesis controlled by the T-Stick. The gestural data from the T-Stick is sent from Max to Ossia\, where it is used to manipulate the treatment of the video clips in real-time. \nThe technical aspects of the work consist of a fixed-media ambisonic file\, with real-time manipulation of video clips (in Ossia Score) and multichannel granular synthesis (in Max) controlled by the T-Stick. \nAbout the artist\nKasey Pocius is a gender-fluid intermedia artist and researcher based in Montreal\, teaching at Concordia and active with CIRMMT\, IDMIL\, LePARC\, and GRMS. They create electroacoustic and audiovisual works that explore interactive electronics\, spatial sound and collaborative improvisation\, with pieces programmed globally from DIY spaces to Harvard. \n  \n\n\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/club-concert-1c/
LOCATION:ligeti center\, Production Lab (10th floor)\, Veritaskai 1\, Hamburg\, 21079\, Germany
CATEGORIES:11-05,Club Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T103000
DTSTAMP:20260423T054053
CREATED:20260415T131848Z
LAST-MODIFIED:20260421T142352Z
UID:10000081-1778576400-1778581800@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3a: Music Notation & Representation I
DESCRIPTION:Three papers will be presented and discussed:\n  \n\nTianze Zhang\, Shingyui He and Lei Xuan\, CNN-BiLSTM Hybrid Model with Physical Constraints for Automatic Piano Fingering Generation\n\n\nJuan Carlos Vasquez and Zhonghao Chen\, Recursive Radiance: Multimedia Interpretations of\nTraditional Chinese Aesthetics \n\n\nRob Canning\, Scores That Run: Graphic Notation with Embedded Performance Semantics\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-3a-music-notation-representation-i/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T090000
DTEND;TZID=Europe/Amsterdam:20260512T223000
DTSTAMP:20260423T054053
CREATED:20260415T132257Z
LAST-MODIFIED:20260421T142516Z
UID:10000083-1778576400-1778625000@icmc2026.ligeti-zentrum.de
SUMMARY:Paper Session 3b: Physiological and Physical Foundations of Creative Systems I
DESCRIPTION:Three papers will be presented and discussed:\n  \n\nAmir Abbas Orouji\, Ayoub Banoushi and Gilberto Bernardes\, Vibrational Analysis of Traditional Persian Kamanche Sound Box: Experimental and Computational Investigation of Structural Modifications\n\nNikolaus Knop\, Ponticello: An Interactive Conducting System for Mixed Music Performance\n\nRuby Crocker\, Lucas Ong and George\, Fazekas Emotion-Based Film Music Retrieval with Handcrafted and Deep Models\n\n 
URL:http://icmc2026.ligeti-zentrum.de/event/paper-session-3b-physiological-physical-foundations-creative-solutions/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (0.016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:12-05,Paper Session,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR