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DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260616T170426
CREATED:20260422T093240Z
LAST-MODIFIED:20260507T184240Z
UID:10000209-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #004 zur ICMC HAMBURG 2026
DESCRIPTION:Die Königin der Instrumente im digitalen Dialog \nDas letzte Abendkonzert der ICMC HAMBURG 2026 rückt ein monumentales Instrument in den Fokus\, das eine Brücke zwischen jahrhundertealter Tradition und futuristischer Technologie schlägt: die Orgel der Friedrich-Ebert-Halle. In diesem Konzert verschmelzen die mächtigen Pfeifenklänge mit KI-Agenten\, mobilen Netzwerken und immersiver Live-Elektronik.  \nEs ist eine Einladung\, die Orgel nicht nur als sakrales Instrument\, sondern als lebendigen\, atmenden Teil eines digitalen Ökosystems zu erleben – ergänzt durch herausragende kammermusikalische Werke für Flöte\, Saxophon und Violine.  \n  \nProgramm\nThe Man in the Mangroves counts to Sleep \nJames A. Moorer et al. \nTraversée IIIb \nNicolas Brochec\nFlöte: Lauriane Boulezaz (Ensemble 404) \nSpring Code \nJian Feng\nHarfe: Armand Brunet (Ensemble 404) \n《Missed Call》\nYi-Tzu Huang\nFlöte: Lauriane Boulezaz (Ensemble 404) \nSchattenwald \nSarah Proske \nOpus\nS. Ali Hosseini and Federico Lessio \nles lignes de désir\nPierre Alexandre Tremblay\nVioline: Wakako Matsubara (Ensemble 404) \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-004/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T190000
DTEND;TZID=Europe/Amsterdam:20260516T210000
DTSTAMP:20260616T170426
CREATED:20260421T164223Z
LAST-MODIFIED:20260515T145558Z
UID:10000106-1778958000-1778965200@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 6B
DESCRIPTION:Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert\, its powerful pipe sounds merge with AI agents\, mobile networks\, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument\, but as a living\, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute\, saxophone\, and violin. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nThe Man in the Mangroves counts to Sleep \nJames A. Moorer et al. \nTraversée IIIb \nNicolas Brochec\nFlute: Lauriane Boulezaz (Ensemble 404) \n《Missed Call》\nYi-Tzu Huang\nFlute: Lauriane Boulezaz (Ensemble 404) \nULYSSES II\nRoberto Cipollina\nViolin: Wakako Matsubara (Ensemble 404) \nIntermission – 15 mins \nSchattenwald \nSarah Proske \nOpus\nS. Ali Hosseini and Federico Lessio \nles lignes de désir\nPierre Alexandre Tremblay\nViolin: Wakako Matsubara (Ensemble 404) \n  \nAbout the pieces & artists\nJames A. Moorer et al.: The Man in the Mangroves Counts to Sleep \nThe Man in the Mangroves Counts to Sleep is the first of its kind: a speech-synthesized opera novella\, based on an original poem. It is an innovative work that merges poetry\, music and animation\, embracing the vocal and musical elements of an opera with the narrative thrust of a short novel. The narrator’s digitized voice has been transformed through computer techniques into a variety of musical forms. The film is unique for its totally synthetic score\, generated mathematically using computer speech synthesis technology. The poem and music are brought to life through animation that reveals layers of meaning in both poem and score.  \nThe movie recounts the inner monologue of a homeless mathematician living in a Key West mangrove swamp. As he surveys his current circumstances\, “The Man” reflects on his past\, his struggles\, and his yearning. The movie originated from the poem of the same name by Tallahassee\, Florida poet Donna Decker. The poem dramatizes her experience meeting “The Man” in a Key West\, Florida homeless encampment.  \nIn preparation for the movie\, please read the poem\, “The Man in the Mangroves Counts to Sleep\,” by Donna Decker here. You will find a German and English version side-by-side. \nAbout the artist\nJames A. (Andy) Moorer – Producer/Director/Original Score – An internationally known figure in digital audio and computer music\, Moorer is the winner of an Emmy® Award and an Academy Award® “for his pioneering work in the design of digital signal processin and its application to audio editing for film.” He is also the creator of the THX1 Deep Note sound—THX’s sonic logo\, heard in thousands of movie theaters around the world.  \nThe Man in the Mangrove Counts to Sleep builds on Moorer’s pioneering work in computer music and more specifically in the use of computer speech synthesis for music. As an MIT and Stanfordtrained engineer\, Moorer’s innovations include advances in the technology used for these compositional purposes. Many of these advances have become routine today in the world of electronic music.  \n  \nNicolas Brochec: Traversée IIIb  \nTraversée IIIb is a mixed music piece for flute\, live electronics\, and Somax AI agents\, in which the electronic part is generated in real time. In Traversée IIIb\, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents\, this enables close interactions between the instrumental and electronic parts\, producing sonic responses ranging from counterpoint to accompaniment\, and occasionally introducing unexpected electronic events. For this reason\, a functional notation is used for the electronic part of the score\, describing actions and parameters rather than musical results\, which cannot be fully predetermined. \nAbout the artists\nNicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers\, including Philippe Manoury\, Martin Matalon\, José Manuel López López\, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris\, NHK member ensembles\, and Improtech (IRCAM). His compositions have received international recognition\, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT). \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nYi-Tzu Huang:《Missed Call》\nMissed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”\, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre\, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover\, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music\, “Missed call” symbolizes unaligned energy and temporary pauses\, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore\, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance\, allowing the musical closure to be awakened again. \nAbout the artists\nYi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions\, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research. \nFlute: Lauriane Boulezaz (Ensemble 404) \n  \nRoberto Cipollina: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nViolin: Wakako Matsubara (Ensemble 404) \n  \nSarah Proske: Schattenwald \nSchattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small\, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time\, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect\, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl\, the wind rustling through the trees\, the creaking of branches…\nThe electronics are based on recordings of a small\, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones\, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.\nThe performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai\, Hamburg\, with its special possibilities\, in particular wind swellers and built-in percussion instruments. \nAbout the artist\nSarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree\, with a focus on IKN – improvisation\, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions\, such as works commissioned by the “Orgelstadt Hamburg e.V.”\, Erzbistum Paderborn\, Dommusik Linz for the vocal ensemble „Cantando Admont“\, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.\nShe won awards in different disciplines\, so as a composer as well as a soprano and organ improviser at different competitions.\nHer compositions have been performed at venues including the Orgelpark Amsterdam\, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen\, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.\nSarah Proske has been working as an assistant organist at St. Jakobi Lübeck\, and as a tutor for the subject “Improvisation\, Composition and New Media” at the MHL. Since April 2026 she is based in Cologne\, working as organist and choir director at Martin-Luther-Kirche Köln-Porz. \n  \nS. Ali Hosseini and Federico Lessio: Opus\nThis project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann\, a pioneering figure in abstract experimental cinema.\nBy studying Ruttmann’s visionary approach\, I have reinterpreted his work through a contemporary lens\, integrating modern technology to introduce a new dimension of abstraction.\nMy goal is to build upon his artistic legacy\, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.\nThe musical composition for this project blends electronic\, electroacoustic\, and acoustic elements to authentically capture its essence.\nBy incorporating synthesizers and concrète sounds\, I seek to establish a fresh sonic approach\, one that bridges tradition with innovation\, enhancing the abstract nature of the work through a dynamic and immersive auditory experience. \nAbout the artists\nS. Ali Hosseini. Born in 1991 in Tehran\, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music\, where I focused on Classic music and composition. Currently\, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza\, Italy. My studies encompass electroacoustic\, electronic\, and contemprory composition\, as well as sound design and the integration of video and short films.\nI am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.\nMy works have been featured at several prestigious festivals\, including the PdMaxCon25~ (USA)\, UVM 2025: COSMOCENO (Brazil)\, Simultan Festival (Romania)\, MA/IN Festival (Italy)\, SEHSUCHTE film festival (Germany)\, Musicmediale Festival (Italy)\, Appennino Festival (Italy)\, Piacenza Music Festival (Italy)\, Pensiero Contemporaneo Festival (Italy)\, and La Notte dei Ricercatori (Italy)\, 43rd Festival Tous Courts (France)\, Evimus 2025 (Germany). \nFederico Lessio \n  \nPierre Alexandre Tremblay: les lignes de désir\nArchitects\, luthiers\, designers\, urban planners\, and other dreamers\, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways\, and soon emerge lines of desire. \nThis piece is an ode to the beauty of aging and experience\, of traces of time passing and writing its story\, of patina and of wrinkles\, of used leather boots\, of rusty structures\, of crow’s feet. Fragile and subtle at first\, these lines\, in the wake of usage\, are the witnesses of the soft and gentle resistance of the ignored wanderer. \nIt is an homage to the emerging beauty of subversive (ab)uses. \n— \nThanks Irine Røsnes\, Linda Jankowska\, the FluCoMa team\, Notam’s team\, and CeReNeM’s Creative Coding Lab. \nAbout the artists\nPierre Alexandre Tremblay (Montréal\, 1975) is a composer and performer on bass guitar and electronic devices\, in solo and group settings\, between electroacoustic music\, contemporary jazz\, mixed music and improvised music. He also worked in popular music\, and practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England\, UK) from 2005 to ’24. In September 2024\, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition. \nViolin: Wakako Matsubara (Ensemble 404) \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-6b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260616T170426
CREATED:20260423T130335Z
LAST-MODIFIED:20260507T184037Z
UID:10000206-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #003 zur ICMC HAMBURG 2026
DESCRIPTION:Ensemble 404 & Die Ästhetik des Widerstands \nDieser Konzertabend präsentiert die gesamte Bandbreite zeitgenössischer Computermusik in kammermusikalischer Besetzung. Das Ensemble 404 – Spezialist für neue Musik in Hamburg – navigiert durch ein Programm\, das von hochgradig spatialisierten Klangwelten bis hin zu audiovisuellen Metamorphosen reicht.  \nErleben Sie\, wie physische Instrumente auf die Präzision von Algorithmen treffen und dabei neue\, hybride Identitäten erschaffen.  \n  \nProgramm\nUnforeseen Metamorphic\nJoshua Rodenberg and Fumiaki Odajima \nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-003/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260514T190000
DTEND;TZID=Europe/Amsterdam:20260514T210000
DTSTAMP:20260616T170426
CREATED:20260421T163025Z
LAST-MODIFIED:20260513T090720Z
UID:10000096-1778785200-1778792400@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 4B
DESCRIPTION:Concert 4B presents the full range of contemporary computer music in a chamber ensemble setting. Ensemble 404—Hamburg’s specialists in new music—navigates a program that spans highly spatialized sound worlds to audiovisual metamorphoses.\nExperience how physical instruments meet the precision of algorithms\, creating new hybrid identities in the process. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nUnforeseen Metamorphic\nJoshua Rodenberg and Fumiaki Odajima \nKryptobioza\nLidia Zielinska \nTide\, breath\nZihan Wang \nEverybody Loves Me\nHoward Kenty \nIntermission – 15 mins \nPresent-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nNaotoshi Osaka \nComing and Vanishing \nYixuan Zhao \nZusammenspiel I\nJavier Alejandro Garavaglia \nVesscape\nDanni Zhao and Congren Dai \n  \nMusicians\nEnsemble 404 \nFlute: Giusy Panzanaro \nRecorder: Karolina Mydlářová \nClarinet: Yuriy Nepomnyashchyy \nBassoon: Rodrigo Rodrigues \nPercussions: Vitalia Agrba \nPiano: Valentina Donato \nViolin: Wakako Matsubara \nViola: Malte Buschenlange\, Zeynep Sertoğlu \nCello: Antonio Lo Curto \nDouble bass: Ricardo Silva \n  \nAbout the pieces & artists\nJoshua Rodenberg and Fumiaki Odajima: Unforeseen Metamorphic\nA seven minute acousmatic performance explores perception as a field where sound becomes a medium of transformation. The work begins with pure sine waves tuned in just intonation\, forming a low intensity sonic layer that permeates the space rather than occupying the foreground. Slow modulation and close interval relationships generate micro beating and phase drift\, unfolding at the threshold of audibility and drawing attention to subtle shifts in listening.\nWithin this continuous membrane\, a second live system of modular synthesis enters as an autonomous partner. Instead of accompanying the sine field\, it negotiates with it\, introducing pulses\, harmonics\, and timbral pressure that can align\, destabilize\, or dissolve. The piece is shaped by interference\, emergent resonance\, and the physical behavior of sound in the room\, producing a shared acoustic field that changes moment to moment. \nAbout the artists\nJoshua Rodenberg is a sound and video artist based in Doha\, Qatar\, where he is Head of the Innovative Media Studios and Associate Professor at Virginia Commonwealth University School of the Arts in Qatar. His practice connects art\, technology\, and environmental research\, translating natural oscillations and field data into live sonic and visual performance. In 2024 he received the VCU Quest Research Grant and participated in the Arctic Circle Artist Residency in Svalbard. His work has been presented internationally\, including the International Computer Music Conference in Boston\, Haus 1 in Berlin\, and EAI ArtsIT 2025 in Dubai. \nFumiaki Odajima is a Tokyo and Amami based artist working with multichannel pure sine waves\, just intonation\, and long timescale transformations to shape perceptual listening environments. He holds a BFA from The Ohio State University and an MFA from Virginia Commonwealth University. Recent projects focus on large scale sine wave diffusion\, exploring interference\, micro beating\, and sound as material at sensory thresholds. Selected performances include Synthesis at ART SPACE BAR BUENA in 2024 and Re:Synthesis at Safi Heimlichkeit Nikai in 2024\, and he released Icecream Daydreaming in 2020 with the improvisational unit kani kani club. \n  \nLidia Zielinska: Kryptobioza\nCryptobiosis is a reversible\, temporary state of extreme reduction in life activities of a composer\, as a response to unfavourable environmental conditions. \nAbout the artist\nLidia Zielinska (*1953) – Polish composer\, professor-emeritus of composition and director of the Electroacoustic Music Studio at the Poznan Academy of Music; numerous awards for orchestral\, multimedial\, electroacoustic works; books\, papers\, guest lectures\, summer courses in Europe\, both Americas\, Asia\, New Zealand; vice-president of the Polish Society for Electroacoustic Music. \n  \nZihan Wang: Tide\, breath\nThis work integrates spatialised fixed-media electronic music with semi-improvised acoustic instrumental performance. Animated scores and sound scores are employed to guide performers and to synchronise their actions with the electronic sections. The compositional focus is spatial counterpoint which extending the interplay of traditional contrapuntal voice relationships into three-dimensional space. This approach generates perceptible parallels\, interweaving\, imitation\, and conflict between instrumental and electronic elements through the parameters of position\, distance\, diffusion\, and timbre. Spatial attributes therefore function as primary compositional parameters rather than post-production effects.\nThe work is inspired by reflections on the macro and micro-structures of two kinds of sound: human crowds and natural environments. Through extensive field recording\, I observed a shared underlying principle: both soundscapes arise from the continuous accumulation and interaction of innumerable micro-sonic events\, producing macro-level shifts in energy\, fluctuations in density\, and emergent directional tendencies. For example\, footsteps\, conversations\, breathing\, and whispers in a crowd collectively form an ever-shifting granular timbre. Similarly\, natural sounds such as rain\, wind\, rivers\, and flocks of birds can exhibit comparable behaviours. This work seeks to establish a perceptual and structural connection between these two sound worlds through electronic composition. \nAbout the artist\nZihan Wang is an electroacoustic music composer\, film composer\, and sonic artist. He is currently a post graduate research student at Monash University\, Melbourne\, Australia\, where his work investigates compositional strategies for ambisonics-based environments. His research engages with Robert Normandeau’s concept of timbre spatialisation and Denis Smalley’s theory of spectromorphology\, with a particular emphasis on timbre\, spatial articulation\, and electroacoustic composition. His creative practice includes fixed-media electroacoustic works\, sound installations\, animated score composition\, and film scoring. His work has been presented at venues and conferences including TENOR 2025 and the Melbourne International Film Festival (MIFF). \n  \nHoward Kenty: Everybody Loves Me\nThis piece was written in 2017 and performed regularly through his first administration. The view backward in 2026 is very different\, considering all that’s transpired and our current state. I’ve wrestled with the benefits and meaning of performing the piece in 2026; can it elucidate\, change anyone’s mind\, serve as a cathartic repudiation\, or something else?\nUltimately\, it feels right to bring it back now. So let us use his own words to reveal a progression of behavior and influence that begins with deep insecurity\, an insatiable need for validation\, and an extreme sense of entitlement\, untempered by want. Let us trace this through to the fear\, intolerance\, and violence that the speaker stokes in many of his followers. Where does this path ultimately end?\nThe salient question for me is how to expose this inherent toxicity to those who don’t immediately recognize it; his power lies in exciting latent fear. When we each enter this type of exploration\, what deep-rooted fears of Other might we find that we harbor within ourselves? Crucially\, how do we deal with them in our actual interactions?\nThis piece attempts these challenges by taking his quotations as its compositional seeds\, adapting their contours\, cadences\, and words directly into pitches\, rhythms\, and text\, implementing and re-arranging them to form the entirety of the work. While the audience’s challenge is reflection and considered action\, the performer’s is simultaneously more difficult and potentially more alluring; they must possess themself entirely of this visceral\, uninhibited id\, becoming pure reactive malice\, discord\, and excitation\, unencumbered by contemplation or morality. It’s a remarkably seductive path for everyone\, regardless of philosophy.\nBurdens of persuasion this tremendous are perhaps impossible for this piece; maybe another desperate scream of absurdity and horror is the only thing realized. Nevertheless\, I believe it is a profound moral obligation for each of us to consider these questions and to act on our considerations\, deliberately.\nThis piece was composed while in residence at the Aaron Copland House\, from July through August\, 2017. Great thanks go to the Copland House organization and the premiere performer\, the dauntless Daniel Pate. \nAbout the artist\nHowie Kenty is a Brooklyn-based composer and performer\, occasionally known by his musical alter-ego\, Hwarg. His music\, called “remarkable” with “astonishing poetic power” (International Compendium Prix Ars Electronica)\, is stylistically diverse\, encompassing ideas from contemporary classical\, electronic\, rock\, and ambient genres\, as well as sound art\, political issues\, and visual and theatrical elements. \nBesides regularly composing and performing his own music\, Howie is half of Ju-eh+Hwarg\, whose The Living Dying Opera has been called “a profoundly entertaining\, interactive night of operatic fun” (New York Music Daily). He plays guitar and composes in the progressive rock group The Benzene Ring\, whose album Crossing the Divide has been hailed as “a true masterpiece” and a “gorgeous piece of experimental rock/metal” (Recyclable Sounds; Progarchy). Howie earned his PhD in Music Composition from Stony Brook University\, and is an Assistant Professor in the Studio Composition program at Purchase College. Random past fancy bits include a Carnegie Hall performance by PUBLIQuartet\, first prize at Shanghai Electronic Music Week\, a residency at Copland House\, and performing his own raucous experimental political art at National Sawdust. Listen at hwarg.com. \n  \nNaotoshi Osaka: Present-Day Jakuchu Series: Butterfly Pictures “Inachis io”\nIto Jakuchu (1716–1800) was a mid Edo period Japanese painter renowned for his brilliantly colored depictions of plants and animals. I have long been fascinated by his works. There was a time when I myself collected butterflies\, and I was deeply captivated by the designs and patterns on their wings. This piece is inspired by those wing patterns\, transforming their visual designs into musical imagery. Jakuchu also painted butterflies\, and with the idea of composing as if I myself were Jakuchu painting a picture\, I titled this work as part of my “Present-Day Jakuchu” series.\nWhen visual and auditory perception are viewed at a higher level of abstraction\, they share many common qualities. In this work\, the visual impressions of the butterfly are linked to the sounds and musical structure.\nInachis io (The European Peacock Butterfly) has eye spot patterns on a reddish brown ground\, reminiscent of a peacock’s feathers\, which gives the species its name. Although it is not found in North America\, South America\, or Oceania\, it is widely distributed across the Eurasian continent\, including Europe and Asia. Many butterflies of the Nymphalidae family are elegant in appearance\, and this species is no exception; it can be seen in many places. In the composition\, I developed the music around two motifs: the background coloration and the eye spot patterns. Unlike my previous work\, this piece does not depict flight or resting behavior; instead\, it focuses solely on the coloration and patterns visible when the wings are fully spread.\nThis piece was originally written in 2023 for violin and piano. For this performance\, it has been newly expanded with an added electroacoustic part\, making this the premiere of the updated version. The electroacoustic materials were created as fixed media\, primarily using granular synthesis and FM synthesis. However\, the sound files are structured as passage level cues\, and their playback timing is performer controlled and triggered in real time. \nAbout the artist\nNaotoshi Osaka received his Master’s degree from Waseda University and\, after working at NTT Laboratories\, has pursued research and composition in electroacoustic music. His works have been selected for the ICMCfive times\, and for the New York City Electroacoustic Music Festival (NYCEMF)three times. He served as President of the Japan Society for Sonic Arts (JSSA) from 2009 to 2018. He is currently a research fellow at Waseda University and Tokyo Denki University\, holds a Ph.D. in engineering\, and is Professor Emeritus at Tokyo Denki University. \n  \nYixuan Zhao: Coming and Vanishing  \nComing and Vanishing is an Audiovisual work for solo flute and electronics that explores a transient and unstable phenomenon.\nThe flute interacts closely with the electronic layer through air sounds\, breath tones\, and extended techniques. Pitch and noise are deliberately blurred\, allowing the instrument to function not as a melodic foreground but as a fluctuating presence. The electronic part is primarily built from processed human whispers and breaths\, materials detached from linguistic meaning. Through subtle layering and diffusion\, the voices lose semantic clarity and become abstract sonic matter. Acoustic and electronic sound exist in a continuous state of mutual negotiation\, shaping and destabilizing one another in real time.\nThe visual draws inspiration from traditional Chinese landscape painting while incorporating a surrealist sensibility. Through gradual transformations of light and shadow\, the imagery reveals and amplifies microscopic details within the sound. Rather than illustrating the music\, the visuals function as a parallel perceptual layer\, extending the listening experience into a spatial and visual field.\nSound and visual are not merely layered media\, but revealing a dynamic process\, existing only within the persistent tension between appearance and disappearance\, presence and loss\, immediacy and dissolution. \nAbout the artists\nComposer: ZHAO Yixuan is a composer\, a lecturer at the Dept. of Music AI and Music Information Technology\, Central Conservatory of Music\, China\, and a visiting researcher at the Royal Birmingham Conservatoire\, UK.\nShe has been dedicated to exploring the practice of digital audio and artificial intelligence in music composition and collaborating with performers to search for more possibilities in technological performance environments. Her composition spans interactive music\, electroacoustic music\, contemporary music\, and new media art. \nVisual Designer: WU Shuangqi (/’su:ki/) is an inter-media creator and visual-physical experimenter engaged in visual media\, contemporary theatre\, physical improvisation\, visual design\, sound\, audiovisual\, photography\, editing\, etc.\nHer creations are mainly based on physical experience\, deconstructing and visually outputting the body and external information\, intending to explore the assembly\, pattern\, motivation and form in the algorithms of flesh and behaviour\, to gain extension in perversion and mutation. \n  \nJavier Alejandro Garavaglia: Zusammenspiel I\nComposition in which viola and clarinet are combined with spectral digital effects and multi-channel spatialization. The idea of “playing together” contained in the title in German was the starting point of the artistic working process. This is clearly noticeable from bar 1\, as the chosen pitches for both instruments are intertwined so that\, together with the real-time electronics\, all 3 create timbres that portray their fusion rather than the sound of each instrument alone. In addition\, the composition presents innovative aspects in terms of real-time digital effects\, for example\, the accumulation and evaporation of spectra of both instruments captured by the electronics in real time or the combination of different techniques (among others Ambisonics) responsible for the particular spatialization of the electronics. Moreover\, the composition is another example of the complete automation of the electronics\, a technique developed by the author for years.\nZUSAMMENSPIEL I was made possible thanks to the support and funding provided by MUSIKFONDS Deutschland. \nAbout the artist\nJavier Alejandro Garavaglia. Award-winning composer\, violist\, sound artist and retired university music professor with a broad and interdisciplinary approach to digital art and related technologies. His work focuses primarily on various aspects of music/sound composition and performance supported by computing\, with a constant search for new sonic experiences combining new developments in computer-aided sound synthesis\, live interaction\, extended instrumental techniques and sound spatialisation. Compositions are performed/broadcast in Europe\, America and Asia in world-renowned concert halls/broadcasters and include electroacoustic music (acousmatic\, interactive\, multimedia)\, instrumental music (e.g.\, solo instrument\, ensemble & orchestra) and sound art (e.g.\, installations). Plenty of his acousmatic music can also be found on commercial CDs by Edition DEGEM\, Cybele\, EMF\, etc.\nMore about Javier Alejandro Garavaglia here. \n  \nDanni Zhao and Congren Dai: Vesscape\nThis work repeatedly performs the same action: pouring sound into a hollow system. \nThe breath of the flute is not treated as lyrical material\, but as a continuously failing act\, namely\, blowing\, gasping\, breaking\, and losing control. Pitches emerge again and again\, yet never settle. The electric bass introduces low-frequency pressure and inertia\, an irresistible downward pull that keeps the entire sound field at the edge of overload. \nA live electronic system analyses the performed sound using AI\, distributing features such as breath\, impact\, and pitch deviation across multiple “vessel” sound sources and visual entities. In its touring performance version\, the original vessel installation has been translated into an 8.1 spatial audio field\, allowing the acoustic presence and directional behavior of the vessels to be simulated through multichannel diffusion. These vessels are not metaphors for containers; they function as receivers of pressure\, being filled\, stretched\, and forced into vibration. The harder the music pushes\, the more unstable the vessels become; when the performer attempts to regain control\, the system exposes even more fractures. \nThe structure begins with an almost violent injection of energy\, gradually shifting into a direct confrontation between body and object. Unstable registers and microtonal deviations are continuously amplified; rhythm is fragmented into dense\, short bursts of broken gestures\, until the system briefly collapses. In the end\, sound is exhausted\, leaving only residual breath and unfinished pitch afterimages. \nThis is not a work about “generation”. It is a sustained experiment in pressure\, control\, capacity\, and limits. The system never truly responds to the performer; it merely records how pressure fails\, again and again. \nAbout the artists\nDanni Zhao is a Chinese composer and electronic music artist. She studies Electronic Music Composition at the Central Conservatory of Music\, where she received the National Scholarship and recommendation for postgraduate study. Her works have won awards at international composition and electronic music competitions and have been presented at events such as ICMC and major music festivals. She is active in concert music\, film\, documentary\, theatre\, and game scoring. \nCongren Dai is a PhD candidate at the Central Conservatory of Music\, specialising in Music AI. He holds an MRes in AI and Machine Learning from Imperial College London and an MSc in Data Science from King’s College London. Having interned in computer vision at Google and engaged in music AI projects at Huawei\, he now applies Large Language Models to musical score understanding and instrument recognition in his research\, alongside contributions to continual learning. \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/evening-concert-4b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T190000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260616T170426
CREATED:20260423T124414Z
LAST-MODIFIED:20260507T183635Z
UID:10000207-1778612400-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #002 zur ICMC HAMBURG 2026
DESCRIPTION:Asya Fateyeva & Friends – Saxophon-Innovationen \nDas zweite Abendkonzert der ICMC HAMBURG 2026 verspricht ein besonderes Erlebnis für Augen und Ohren. Im Mittelpunkt dieser Session steht das Saxophon\, interpretiert von einer der profiliertesten Künstlerinnen unserer Zeit: der Hamburger Saxophonistin Asya Fateyeva. Gemeinsam mit ihren talentierten Studierenden präsentiert sie fünf Werke\, die speziell für sie und ihr Instrumentarium konzipiert wurden.  \nErgänzt wird dieser instrumentale Schwerpunkt durch zwei beeindruckende Video-Arbeiten\, die auf der eigens für die ICMC in der Friedrich-Ebert-Halle installierten Video Wall präsentiert werden und die Grenzen zwischen Klangraum und visuellem Raum auflösen.  \n  \nProgramm\nSaxophon: Asya Fateyeva \nAdaptive_Study#06 – Symbolic Structures Enhanced\nRiccardo Dapelo \nExpandiere \nChing Lam Chung \npan:individual\, “come closer\, come home”\nFranz Danksagmüller \nSilent “human bird language” \nYongbing Dai and Yiping Bai \nCor Ddiglwed (Unhearing Chorus) \nJoe Wright \nJamshid Jam \nJean-François Charles and Ramin Roshandel\nSetar: Ramin Roshandel\nLive electronics: Jean-François Charles \nPoetic Encounter with the digital shadow\nNicolas Kummert \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-002/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T190000
DTEND;TZID=Europe/Amsterdam:20260512T210000
DTSTAMP:20260616T170426
CREATED:20260421T170217Z
LAST-MODIFIED:20260512T080618Z
UID:10000219-1778612400-1778619600@icmc2026.ligeti-zentrum.de
SUMMARY:Evening Concert 2B
DESCRIPTION:This Evening Concert promises a special experience for both eyes and ears. At the center of this session is the saxophone\, performed by one of the most distinguished artists of our time: Hamburg-based saxophonist Asya Fateyeva. Together with her talented students\, she presents five works specially conceived for her and her instruments.\nThis instrumental focus is complemented by two striking video works\, presented on the specially installed video wall in the FEH\, which dissolve the boundaries between sonic and visual space. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nSaxophone: Asya Fateyeva \nAdaptive_Study#06 – Symbolic Structures Enhanced\nRiccardo Dapelo \nExpandiere \nChing Lam Chung \npan:individual\, “come closer\, come home”\nFranz Danksagmüller \nSilent “human bird language” \nYongbing Dai and Yiping Bai \nCor Ddiglwed (Unhearing Chorus) \nJoe Wright \nWind Blown Rain\nMara Helmuth\nClarinet and Tarogato: Esther Lamneck\nVideo: Alfonso Belfiore \nPoetic Encounter with the digital shadow\nNicolas Kummert \n  \nAbout the pieces & the artists\nRiccardo Dapelo : Adaptive_Study#06 – Symbolic Structures Enhanced\nAdaptive_Study#06 – Symbolic Structures Enhanced (2025) is the sixth work in a series of compositional studies initiated in 2015\, exploring musical forms that are not temporally fixed. The piece investigates adaptive processes based on symbolic structures\, short-term memory\, and performer–system interaction. The live electronics analyses performer input and generate responses through the transformation and recombination of symbolic data. Rather than functioning as an autonomous generator\, the system acts as a responsive partner\, shaping musical form through evolving interactions over time. Control of event density at micro and macro-structural levels plays a central role\, preventing entropic saturation. The work is conceived as an open study\, in which form emerges through the negotiation between performer and system\, maintaining stylistic coherence while allowing variability across performances. \nAbout the artist\nRiccardo Dapelo (b. 1962) studied composition with G. Manzoni and A. Vidolin. His work focuses on acoustic and electronic composition\, live electronics\, and interactive systems\, and has been performed internationally. He has published articles and lectured on voice analysis\, spatialisation\, philosophy of art\, and musical time. He collaborates with visual artists on interactive works and sound installations for museum and exhibition spaces. He teaches Composition at the Conservatory of Piacenza. \n  \nChing Lam Chung: Expandiere\nThis piece explores the different sound qualities of the baritone saxophone—from pitched materials to mechanical sounds—and its interaction with electronics\, thereby investigating the sonic hybridity between the instrument and electronic media. Both tape and live electronics are used: the fixed electronics allow sound objects to be precisely organized within the spatial environment\, while the live electronics serve as a bridge between the instrument and the fixed electronics\, enhancing their connections. \nThrough this approach\, the piece creates a unique sonic environment in which different sound objects interact and evolve with one another\, offering the audience a varied auditory experience in which the instrument and electronics fully merge. \nAbout the artist\nCHUNG Ching Lam\, Mavis (b.2003)\, was born and raised in Hong Kong. Mavis currently studies Master music composition at Frankfurt University of Music and Performing Arts\, under the guidance of Orm Finnendahl and Ulrich Alexander Kreppein.\nMavis’s music thoughtfully explores timbre\, transforming ordinary sounds into unexpected auditory experiences. Her compositions discover the beauty of melancholy as she creates a unique sonic landscape that reflects her philosophy and experiences.\nShe received third prize in the 2nd NC Wong Young Composers Award and was chosen for the electroacoustic composition fellowship at the Delian Academy 2024. She also participated in the URTIcanti contemporary music festival and the Internationales Digitalkunst Festival. Furthermore\, she attended the South China Contemporary Creative Music Institute and has been selected for the Mixed Media category at the iISUONO Contemporary Music Week 2025. Her compositions have been performed in Greece\, Germany\, and Italy.\nShe studies Bachelor music composition at Hong Kong Baptist University\, under the guidance of Eugene Birman\, Camilo Mendez\, Stylianos Dimou and Ka Shu TAM. \n  \nFranz Danksagmüller : pan:individual\, “come closer\, come home”\npan:individual is a participatory work for organ\, live electronics\, mobile phones\, and audience that explores how individual perception\, agency\, and identity are transformed within digitally mediated collective systems. The piece examines how contemporary technologies shape experiences of belonging\, guidance\, and participation\, blurring the boundary between individual action and collective behavior.\nThe performance unfolds as a distributed audiovisual environment in which audience members access individualized video streams on their mobile phones. Initially fragmented and asynchronous\, these streams gradually align\, forming a shared sonic and visual field. The organ part follows algorithmic and process-based instructions that guide constrained improvisation\, functioning not as an authoritative voice but as one element within a larger collective texture shaped by live electronics.\nAs the performance progresses\, audience members are invited to participate vocally\, tuning into sustained pitches suggested by the audiovisual environment. Digital avatars address participants directly\, encouraging alignment and proximity and culminating in the formation of a collective sonic organism.\nRather than presenting a narrative or explicit critique\, pan:individual creates an experiential situation in which participants are invited to reflect on how digitally mediated systems influence collective identity\, agency\, and the desire to belong. \nAbout the artist\nFranz Danksagmüller (*1969) is an Austrian organist\, composer\, and media artist working at the intersection of instrumental performance\, live electronics\, rule-based improvisation\, and participatory systems. He is Professor for Organ and Improvisation at the University of Music in Lübeck and currently Visiting Professor at the Royal Academy of Music\, London. His works include music theatre\, ensemble and vocal works\, and participatory projects integrating digital technologies and audience interaction\, presented internationally across Europe\, Asia\, Africa\, and North America. \n  \nYongbing Dai and Yiping Bai: Silent “human bird language” \nThis work\, composed for saxophone and electronic music\, uses the saxophone’s unique multiphonic harmonics\, distinctive timbre\, and various techniques such as tonguing to evoke an effect of ancient human “bird language\,” akin to “abstract writing” incomprehensible to modern humans. It uses this to question the constant self-destruction that occurs on our shared planet. We can consider this: we have entered the age of artificial intelligence\, with highly advanced science and technology. Yet\, even in this civilized context\, for their own benefit\, humans can disregard and kill their fellow human beings. This is utterly absurd and tragic. How is this different from the barbaric slaughter of ancient times? What is the significance of the development of human technology and civilization? \nAbout the artists\nDai Yongbing holds a doctorate in Electronic Music Composition from the Shanghai Conservatory of Music. He currently teaches electronic music at the Art and Technology Department of the Composition Department of Wuhan Conservatory of Music. He was sponsored to study composition and electronic music composition at the Royal Danish Academy of Music\, where he received a master’s degree in composition. In 2023\, he studied sound art at the University of Music and Drama in Munich\, Germany.In 2024\, he was sponsored by the European Union’s Erasmus program to study electronic music composition with Professor Karlheinz Essl at the University of Music and Drama in Vienna\, Austria. The electronic music work “Two Trembling Hearts” won the first prize at the Hangzhou International Electronic Music Festival. In June 2022\, he was selected for the academic class of computer music design and performance at the IRCAM-Manni-festival Music Festival at Pompidou in Paris\, France. His work “Two Worlds of Monks” won the first prize in the UPI-Sketch professional group at the 2022 Xenakis (CIX) Music Center in France. His wind band work “Non-Taoism” was premiered by the Shenzhen Symphony Orchestra. His works have been performed all over the world\, such as Munich and Düsseldorf in Germany\, Amsterdam in the Netherlands\, Vienna in Austria\, Lisbon in Portugal\, Copenhagen in Denmark\, New York in the United States\, Tokyo in Japan\, Seoul in South Korea. \nYiping Bai \n  \nJoe Wright: Cor Ddiglwed (Unhearing Chorus) \nCor Ddiglwed (unhearing chorus) takes inspiration from Daphne Oram’s ‘Bird of Parallax’\, and was developed with the one-of-a-kind\, Mini Oramics\, developed by Tom Richards based on Oram’s designs for a revised version of her pioneering graphical synthesis machine. \nIn the piece\, the author phrases/samples recorded with Oramics\, alongside field recordings taken locally to his home in South Wales and live processed saxophone which uses the instrument as input to a phase vocoder designed to mimic the writing / replaying / overwriting process that Mini Oramics facilitates. \nThe piece was written in the context of a highly divisive by-election in which local communities in South Wales saw a hot rise in populist sentiment\, and a rise in polarised rhetoric on and offline. While the technical inception of the piece draws heavily on Oram and the legacy of her synthesiser design\, the field recording process at this time highlighted the importance shapes and forms in captured human and animal voices – seen through an Oramics lens. The piece explores the idea of diverse clashing narrative threads in a fight for attention – as a metaphorical mirror to the author’s recordings of local dawn choruses. Both in the piece and the context of its composition\, these voices are\, despite their differences\, interconnected by common challenges and under-explored common ground\, yet are broadly unheard by others. \nThe piece forms part of a broader body of recent work that explores Oramics in the context of Oram and Iannis Xenakis’ work\, and the ways that their thinking and legacy can apply to contemporary musical composition\, instrument design\, and accessible musical tools and resources. \nAbout the artist\nJoe Wright is a musician and maker based in Cardiff\, with an interest in collaborative music making\, field recording\, accessible music technology/practice\, and creative code. As a saxophonist\, Joe is currently playing across the UK and Europe with jazz/contemporary music groups led by Rob Luft\, Corrie Dick\, and in FORJ. He also has a long-standing collaboration – Onin – with experimental musician\, James L Malone that explores unstable systems and atypical interactions. Recently\, Joe has been exploring field recording with a focus on his local natural spaces in South Wales. \n  \nMara Helmuth\, Esther Lamneck and Alfonso Belfiore: 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\, and its reflections in the tárogató sound. 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 previous 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. The video component of Wind Blown Rain is a visual meditation on the natural landscape\, filtered through the inner rhythm of rainfall. Created with images generated and modified using artificial intelligence\, the editing alternates slow-motion sequences\, crossfades\, and subtle variations to evoke a dilated sense of time. The environment\, immersed in rain\, transforms gradually\, suggesting a fragile balance between presence and dissolution. The visual work accompanies the music as a mental landscape—fluid and contemplative. \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. \nClarinet and Tarogato: Esther Lamneck\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/ \nVideo: Alfonso Belfiore\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  \nNicolas Kummert: Poetic Encounter with the digital shadow\nThis proposal invites saxophonist Asya Fateyeva into an improvisatory performance that explores the encounter between acoustic virtuosity and real-time electronic transformation. The project centres on a live-electronics setup I have developed within artistic research contexts over several years—a system deliberately designed to be simple\, flexible\, affordable\, and fast to deploy. It requires only a close microphone (ideally the Vigamusictools Intramic)\, a small audio interface\, a laptop\, and three compact controllers. Its purpose is not to impose effects but to extend the sonic and expressive possibilities of the acoustic instrument while remaining transparent and highly responsive.\nThe concept is straightforward: the saxophone produces the primary musical material\, and I modulate that sound live through controlled timbral\, spectral\, and temporal transformations. The electronics behave as a reactive partner—what I call the performer’s digital shadow: a sonic counterpart that follows\, shapes\, questions\, or briefly detaches from the acoustic gesture. The identity of the acoustic sound remains fully audible\, while the electronic layer opens new directions within the improvisation.\nThe artistic foundations of this work draw on several research frameworks:\n• Improvisation as assemblage (after Deleuze): the performance is approached as a self-emergent system in which performers\, instruments\, digital processes\, acoustics\, and feedback relations act together to shape the form in real time.
• Paulo de Assis’s Logic of Experimentation: the focus lies on what the instrument–electronics constellation can do when activated through exploratory performance\, rather than on pre-defined material.
• Georgina Born’s theory of musical mediation: the setup foregrounds the interplay between acoustic sound\, digital transformation\, performer interaction\, and audience perception.
• Laurent Cugny’s audiotactile perspective: the electronic layer functions as an extension of touch\, gesture\, and micro-timing rather than an external effect. The project treats improvisation as a co-embodied process that produces a hybrid sonic entity.\nMusically\, the performance is structured as a series of improvisatory episodes that examine different modes of relationship between acoustic and transformed sound:
– subtle extensions of timbre and resonance;
– interactive textures and rhythmical counterpoints between acoustic phrasing and electronic responses
– sections where Asya’s sound is heavily transformed in real time\, while the unprocessed acoustic sound is replayed in the pauses of her playing\, blurring the audience’s visual-aural connection\, and questioning the musician’s immediate relationship to her own instrument.\nBecause the system is lightweight and adaptable\, the collaboration requires limited rehearsal and can be shaped around Asya’s musical language and preferred improvisational strategies. The format proposes an accessible but conceptually rigorous exploration of improvisation\, mediation\, and electronic augmentation. It offers the conference audience an accessible example of how simple\, flexible computer-music tools can generate rich musical dialogues and expand the expressive ecology of the acoustic instrument\, shedding new light on various aspects of improvisation.\nI propose to conclude the performance with a short discussion in which Asya can reflect on how the electronic shadow influenced musical decision-making\, interaction\, and perception—offering insight into the core research questions driving this work. \nAbout the artist\nNicolas Kummert (1979) is a Belgian saxophonist\, electronic artist\, composer and researcher known for his melodic sense\, openness and exploratory approach. He has recorded over 70 albums and performed worldwide with artists such as Lionel Loueke\, Jeff Ballard\, DRIFTER and many others. Active in hybrid acoustic–electronic projects\, film and dance music\, and interdisciplinary research\, he develops innovative modulation processes and collaborates across jazz\, poetry\, contemporary dance and African music. \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \n 
URL:http://icmc2026.ligeti-zentrum.de/event/concert-2b/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:12-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260616T170426
CREATED:20260423T145514Z
LAST-MODIFIED:20260507T183339Z
UID:10000208-1778526000-1778533200@icmc2026.ligeti-zentrum.de
SUMMARY:INTREPID: Abendkonzert #001 zur ICMC HAMBURG 2026
DESCRIPTION:Dieses Abendkonzert markiert eine besondere Zusammenarbeit zwischen der internationalen ICMC-Gemeinschaft und der Hamburger Musikszene. Im Mittelpunkt steht das Ensemble 404 der Hochschule für Musik und Theater Hamburg (HfMT). Für diesen Anlass wird in der Friedrich-Ebert-Halle eigens eine Video Wall installiert\, um die Synergie von Klang und Bild in den Fokus zu rücken.  \nDas Programm reicht von intimen Solostücken mit Computerunterstützung über komplexe Ensemble-Kompositionen bis hin zu großformatigen Videoarbeiten.  \n  \nProgramm \nMachinarium\nJoão Pedro Oliveira \nFantasy for Viola and Computer\nRichard Dudas\nBratsche: Zeynep Sertoğlu (Ensemble 404) \nNeuro Translation Engine\nVincenzo Russo\nFlöte: Giusy Panzanaro\nKlarinette : Yuriy Nepomnyashchyy\nCello: Antonio Lo Curto\nKlavier: Valentina Donato\n(Ensemble 404) \nClimate II for piano and computer \nRikako Kabashima\nKlavier: Valentina Donato (Ensemble 404) \nWind Blown Rain\nMara Helmuth\nKlarinette and Tárogató: Esther Lamneck\nVideo: Alfonso Belfiore \nDelicate Anticipation\nKotoka Suzuki\nPercussion: Michael Murphy \nAir-Carving Bamboo\nYu Chung Tseng\nPercussion: Vitalia Agrba (Ensemble 404) \n  \nTickets und wichtige Informationen\nTickets (regulär 24 € / ermäßigt 15 €) via Pretix\nEinlass: 18:30 Uhr \n  \nICMC HAMBURG 2026\nDie International Computer Music Conference (ICMC) ist die weltweit bedeutendste Plattform für computergestützte Musik. Seit 1975 bringt sie Künstler:innen\, Wissenschaftler:innen und Entwickler:innen aus aller Welt zusammen. Sie widmet sich der Präsentation und Diskussion neuester Entwicklungen in Musiktechnologie\, Künstlicher Intelligenz\, interaktiven Systemen\, immersiven Audioformaten sowie deren gesellschaftlicher Bedeutung. ICMC HAMBURG 2026 widmet sich dem Motto „Innovation\, Translation\, Participation“ und wird von der HfMT Hamburg\, TUHH\, HAW Hamburg und dem UKE und in enger Zusammenarbeit mit dem ligeti zentrum organisiert.  \nDas INTREPID Festival begleitet die ICMC HAMBURG 2026 als öffentlich zugängliches Musikfestival. Es wurde ins Leben gerufen\, um wegweisende künstlerische Projekte einem breiten Publikum in Hamburg-Harburg näherzubringen. 
URL:http://icmc2026.ligeti-zentrum.de/event/intrepid-abendkonzert-001-zur-icmc-hamburg-2026/
LOCATION:Friedrich-Ebert-Halle\, Alter Postweg 34\, Hamburg\, 21075\, Germany
CATEGORIES:INTREPID
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BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260511T190000
DTEND;TZID=Europe/Amsterdam:20260511T210000
DTSTAMP:20260616T170426
CREATED:20260421T085527Z
LAST-MODIFIED:20260512T080602Z
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. \nThis Evening Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nMachinarium\nJoão Pedro Oliveira \nFantasy for Viola and Computer\nRichard Dudas\nViola: Zeynep Sertoğlu (Ensemble 404) \nNeuro Translation Engine\nVincenzo Russo\nFlute: Giusy Panzanaro\nClarinet : Yuriy Nepomnyashchyy\nCello: Antonio Lo Curto\nPiano: Valentina Donato\n(Ensemble 404) \nClimate II for piano and computer \nRikako Kabashima\nPiano: Valentina Donato (Ensemble 404) \nJamshid Jam \nJean-François Charles and Ramin Roshandel\nSetar: Ramin Roshandel\nLive electronics: Jean-François Charles \nDelicate Anticipation\nKotoka Suzuki\nPercussion: Michael Murphy \nAir-Carving Bamboo\nYu Chung Tseng\nPercussion: Vitalia Agrba (Ensemble 404) \n  \nAbout the pieces & artists\nJoão Pedro Oliveira: Machinarium\nMachinarium unfolds as a journey through an imaginary city of machines\, where mechanisms seem to think and structures begin to breathe. Layers of image and sound interlock like gears\, evoking a world in which the boundary between living organism and industrial artifact becomes uncertain.  \nAbout the artist\nComposer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance\, composition\, and architecture in Lisbon. He completed a Ph.D. in Music at the University of New York at Stony Brook. His music includes opera\, orchestral compositions\, chamber music\, electroacoustic music\, and experimental video. He has received over 70 international prizes and awards for his works\, including the prestigious Guggenheim Fellowship in 2023\, the Bourges Magisterium Prize\, and the Giga-Hertz Special Award\, among others. His music is played all over the world. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.  \n  \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 artists\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. \nViola: Zeynep Sertoğlu (Ensemble 404) \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 artists\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. \nFlute: Giusy Panzanaro\nClarinet : Yuriy Nepomnyashchyy\nCello: Antonio Lo Curto\nPiano: Valentina Donato\n(Ensemble 404) \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 artists\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. \nPiano: Valentina Donato (Ensemble 404) \n  \nJean-François Charles and Ramin Roshandel: Jamshid Jam \nThe sonic dust of a country that has been burned to the ground several times over the centuries and yet has formed some of the most elaborate and highly sophisticated musical structures to have ever existed. According to Persian myths\, Jamshid\, who ruled during several centuries\, was responsible for inventions ranging from the manufacturing of weapons to the mining of jewels to the making of wine. He is also credited with the discovery of music. This is what brought the Jamshid Jam duet together: the search for music at the crossroads of the Radif tradition (Persian classical music) and the development of musical instruments such as the turntable and live electronics. \nAbout the artists\nRamin Roshandel grew up in a family surrounded by artists; his luthier dad\, his painter uncle\, and his setar instructor\, Farshid Jam\, had strong influences on him as a teenager. Ramin worked with the renowned Mohammad Reza Lotfi at Maktab-Khāne-ye Mirzā Abdollāh. As a composer\, his works have been performed by Jack Quartet\, the University of Iowa Center for New Music\, and Ligament Duo\, among others. Ramin holds a PhD in Music Composition from the University of Iowa. He served as a lecturer at Iowa State University in Spring 2026 and is teaching music composition at Augustana College in Rock Island\, USA. More info: ramin-roshandel.com \nJean-François Charles is Associate Professor of Composition and Digital Media at the University of Iowa. He creates at the crossroads of music and technology. As a clarinetist\, he has performed improvised music with artists ranging from Douglas Ewart to Gozo Yoshimasu. He worked with Karlheinz Stockhausen for the world premiere of Rechter Augenbrauentanz.\nRamin Roshandel & Jean-François Charles have worked on several projects together. Roshandel was the setār soloist for the premiere performances of Charles’ opera Grant Wood in Paris in 2019. They performed together as part of the live soundtrack composed by Charles and Nicolas Sidoroff to the 1923 Hunchback of Notre-Dame movie\, a commission by FilmScene with premiere performances in November 2023 in Iowa. In 2025\, they composed and performed a series of 13 concerts with the Red Cedar Chamber Music ensemble. \nSetar: Ramin Roshandel \nLive electronics: Jean-François Charles \n  \nKotoka Suzuki and Michael Murphy: 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. \nPercussion: Michael Murphy\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 artists\nYu-Chung Tseng\, receiving his DMA from UNT in Texas\, is a professor of computer music composition and the director of Sound Lab at National Yang Ming Chiao Tung University(NYCU) in Taiwan.\nHis works have received performances at festivals and conferences\,\nincluding Taiwan-CLAB\, ICMC(19 times)\, NYCEMF\, Musicacoustica\, SICMF\, SMC2016\n\,Visiones Sonoras Festiva\, La Hora Acusmatica\, FIME\, MUSLAB\, and Musica Nova.\nHis music has been recognized with selection/awards from Pierre Schaeffer International Computer Music Competition (2003 1st Prize)\, Città di Udine International Contemporary Music Competition(2019 Winner)\, Musica Nova (2010 First Prize)\, Metamorphoses (2006-2010 Finalist)\, ICMC Region Best Music Award(2011/2015/2022)\, RMN Classical Electroacoustic(2023 Winner)\, KLANG International Acousmatic Composition Competition(2023 2nd Prize)\, Musica Nova (2025 1st Prize) and ICMC2025 Best Music Award. \nPercussion: Vitalia Agrba (Ensemble 404) \n  \nVolunteers\nTechnical Director / FOH\nGiovanni Dinello \nSound Engineering \nLuciano Correa \nLight Design\nGabriel Saber\, Lukas Becker \nStage & Sound Assistance\nAdrián Velasco \nProduction\nValentina Donato\nHaewon Sim \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
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