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DTSTART;TZID=Europe/Amsterdam:20260516T133000
DTEND;TZID=Europe/Amsterdam:20260516T150000
DTSTAMP:20260627T134824
CREATED:20260421T163825Z
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SUMMARY:Lunch Concert 6A
DESCRIPTION:Concert 6A forms a bridge between the distant past and a radically digital future. It is a search for the edges of the audible—whether in the almost imperceptible silence of a saxophone\, in the raw 1-bit synthesis of early computer music pioneers\, or in the lament of the Gorgons on a reconstructed ancient instrument. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nApparizione del Silenzio \nYisong Piao\nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \ntibone\nKerry Hagan \nA Hatful of Feathers \nMarc Ainger\nAlto flute: Ann Stimson \nchime\nTiffany Skidmore and Patti Cudd \nCyanotypes for Vibraphone and Live Electronics\nElaine Lillios\nPercussion: Patti Cudd\nPatch and sound: Marc Ainger \nGorgons’ Cry for Aulos and Live Electronics\nKonstantinos Karathanasis\nInstrumentalist: Cullum Armstrong \n  \nAbout the pieces & artists\nYisong Piao: Apparizione del Silenzio  \nApparizione Del Silenzio does not contain “silence” itself—at least\, not in the conventional sense of an absence of sound. Instead\, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum\, the friction between air and metal\, the dissipation of sound waves in space—those margins of sound that are ignored\, inaudible\, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness\, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing\, silence ceases to signify absence and becomes another mode of existence.\nThe piece is written for tenor saxophone and electronics\, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence\, where breath\, touch\, and hesitation become part of an almost inaudible voice.\nThe generative logic of the work is not the appearance of silence\, but its presentation: silence here is not what is conventionally called “silence\,” but a subject that reveals itself through its auditory traces. \nAbout the artists\nYisong Piao (b. 1992\, China) is a Seoul-based composer specializing in electroacoustic and instrumental music. His works have been presented at ICMC 2023 (China)\, ICMC 2024 (Korea)\, and ICMC 2025 (Boston). He is a researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA)\, focusing on microtonality and algorithmic approaches in composition. \nTenor saxophone: Moritz Christiansen (SPIIC Ensemble) \n  \nMiller Puckette and Kerry Hagan: tibone \nKerry Hagan presents an improvisation on 1-bit synthesizers. Rather than pursuing chip tunes or similarly low-bit music\, she navigates a range of possible timbres in an exploratory performance. \nAbout the artists\nMiller Puckette and Kerry Hagan began focused collaborations on academic and musical projects in 2014. Together their duo has performed in North America and Europe. They have introduced novel synthesis algorithms through new performances. Their work explores timbre\, spatialization\, real-time computer processes\, algorithms\, interaction design\, performance practice\, and performance systems. \n  \nMarc Ainger: A Hatful of Feathers\nIn A Hatful of Feathers for Alto Flute and Computer\, the flutist creates a music in realtime that is informed by expanded possibilities\, using traditional and extended techniques. The work builds from Willian Sethares’ research into spectra and tuning.\nThe computer analyzes the pitch\, amplitude\, and spectral content of the flute playing (including all of the sounds created by the mechanism of the flute\, such as the sound of the keys)\, interacting with the live sound in various ways (stretching/contracting and/or spatializing various spectra\, retuning spectra\, granulating and creating micro-glissandi\, etc). We use a custom Max/Msp patch using some well-known spectral and spatial techniques\, along with some extensions of these techniques. \nAbout the artists\nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences.\nPerformances of Ainger’s works have included the New York Philharmonic Biennial; the INA/GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; SIGGRAPH; the Palais de Tokyo (Paris); FolkwangWoche NeueMusik(Essen); Gaggego!(Gothenburg); the Joyce Theater (New York); Guangdong Modern Dance; and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship\, the Irino International Chamber Music Competition\, Musica Nova Prague\, Meet the Composer\, and the Esperia Foundation. \nAlto flute: Ann Stimson\nAnn Stimson made her professional debut at the age of eighteen as a member of the Debut Orchestra in Los Angeles and has gone on to perform with various orchestras and ensembles and as a soloist throughout the US and Europe. Her work seeks to extend traditional instruments and modes of performance into new\, imaginative realms of action and interaction. \n  \n  \n  \nPatti Cudd: chime\nPatti Cudd performs “chime\,” for percussion and fixed media\, composed for her by Tiffany M. Skidmore. “chime” requires 2 snare drums\, 6 crotales\, 12 distinctive beaters\, and 2 bluetooth bone conduction\, wireless speakers. Each speaker is affixed to the underside of one snare drum. All 6 crotales are placed on a single drumhead. The performer plays a complex series of patterns moving between bare drumhead and unmoored crotales using combinations of beaters. Mechanistic\, unpitched patterns begin to merge with melodic\, pitched elements that sometimes bend to ultimately become a metallic wall of overtones as the line between electronic and live acoustic sound comes into and out of focus. This piece was premiered by Cudd at the VT New Music + Technology Festival in May 2023\, ICMC represents the premiere of a revised version of the electronics and the first time Patti will use the bone conduction speakers that were originally intended for this piece. \n“chime” happens on three planes: a long\, liquidating chiasmus meets two rotating pitch constellations. \nAbout the artists\nComposer/Associate Director of the Mizzou New Music Initiative Tiffany M. Skidmore has held faculty positions at the University of Minnesota\, Virginia Tech\, and the University at Buffalo (SUNY)\, where from 2023-2024\, she held the Birge Cary Chair in Music Composition. In 2025\, she was Visiting Professor at McGill University\, in residence at the Centre for Interdisciplinary Research in Music Media and Technology. She is Co-Founder\, Executive Director\, and Artistic Director of 113\, producing the Twin Cities New Music Festival\, guest residencies\, and concerts throughout the world. \nDr. Patti Cudd is active as a percussion soloist\, chamber musician and educator. Patti is a member of the acclaimed new music ensemble\, Zeitgeist. Her other diverse performing opportunities have included CRASH\, the Minnesota Contemporary Ensemble\, Minnesota Dance Theatre and the Borrowed Bones Dance Theater.\nAs an active performer of the music of the 21st century\, she has given concerts and master classes throughout North America\, Asia\, Europe and South America. As a percussion soloist and chamber musician\, she has premiered well over 200 new works. \n  \nElaine Lillios: Cyanotypes \nCyanotypes\, with their characteristic white imprints on a deep blue field\, transcend mere photographic representation; they serve as blueprints that reveal the essence of objects through their negative form. This transformative process redefines the concept of the “object\,” not as a fixed entity\, but as an echo\, a trace\, or an imprint of presence. In this conceptual framework\, cyanotypes become a metaphor for the translation of physical and temporal phenomena into abstracted impressions. Inspired by this principle\, Cyanotype’s Five Studies approaches the vibraphone not through its direct sound or physicality\, but as a series of rhythmic imprints — sonic blueprints that capture the vibraphone’s articulate and resonant characteristics. \nThe vibraphone is renowned for its shimmering sustain\, dynamic control\, and ability to produce both melodic and percussive textures. In Cyanotype’s Five Studies\, these qualities are refracted through the instrumental language itself\, emphasising the vibraphone’s unique ability to articulate rhythmic patterns with clarity and tonal nuance. This work creates a rich sonic landscape for exploring how vibraphone rhythms can be abstracted\, deconstructed\, and re-imagined as imprints within sound. \nEach study acts as a sonic cyanotype\, distilling the essential rhythmic and timbral gestures of the vibraphone into textures that evoke the original instrument’s expressive potential without relying on straightforward replication. The vibraphone’s capacity for sustained tones and nuanced dynamic shading allows for a complex rendering of rhythmic articulation\, translating percussive strikes into lingering tonal shapes. The five studies function collectively as a blueprint series—each revealing different facets of the vibraphone’s character through a process of mediation\, exploring articulation\, rhythmic complexity\, timbral contrast\, and dynamic variation. \nBy conceptualising the work as an imprint rather than a direct transcription\, the piece invites listeners to reconsider the relationship between source and representation. It challenges traditional notions of musical interpretation by emphasising the transformative potential of the vibraphone to embody and reinterpret its own characteristic sound patterns. The blue-white dichotomy of the cyanotype process parallels the interplay between presence and absence in sound—notes articulated and decayed\, rhythm asserted and refracted\, the physical gesture and its sonic echo. \nUltimately\, Cyanotype’s Five Studies proposes a dialogue between visual and auditory art forms\, grounded in the shared concept of imprinting. Just as the cyanotype renders the visible object in reverse contrast\, this work explores how musical objects—rhythms and timbres—can be refracted through mediation to reveal new expressive dimensions. The vibraphone becomes both subject and medium\, transforming its distinctive voice into a series of articulate\, resonant imprints\, inviting a deeper engagement with the ephemeral nature of sound and the processes of artistic representation. \nAbout the artists\nComposer: Elaine Lillios \nElainie Lillios is an American composer whose music explores sound\, space\, and the physical experience of listening. Her works often blend acoustic instruments with electronics\, field recordings\, and subtle timbral shifts. Lillios’s music has been performed internationally and is known for its immersive\, textural quality and imaginative use of resonance and sonic detail. \nPercussion: Patti Cudd \nPatti Cudd is an American percussionist\, educator\, and new-music advocate. A member of Zeitgeist and a professor at the University of Wisconsin–River Falls\, she specializes in contemporary percussion\, electroacoustic music\, and commissioning new works. Cudd has performed internationally\, recorded widely\, and collaborated with leading composers to expand the modern percussion repertoire. \nSound design: Marc Ainger \nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences. \n  \nKonstantinos Karathanasis: Gorgons’ Cry for Aulos and Live Electronics\nThis programmatic composition is inspired by the 12th Pythian Ode\, written by Ancient Greek poet\, Pindar\, in honor of a formidable Aulos player. When Perseus\, aided by goddess Athena\, beheaded sleeping Medusa\, the only mortal of the three sister Gorgons\, the two immortal Gorgon sisters\, Stheno and Euryali woke up\, realized the crime and chased the culprit with terrible cries and laments. Athena listened to the Gorgons’ cries and created Aulos\, a double pipe-double reed wind instrument to imitate them.\nIn contrast to the ancient poet\, and profoundly stirred by ongoing contemporary reports of femicides\, the composer interprets this myth from a feminist perspective. Medusa is portrayed as a tragic victim of patriarchy\, and the Gorgons cry out in extreme anger\, mourning the lost beauty of their sister.\nIn modern days\, Archeomusicologists study fragments\, or entire pieces of excavated Auloi from various sites and eras to recreate exact replicas to learn more about the sounds and performing techniques of this long-lost instrument. This piece is based on a Pydna aulos\, an instrument entombed in Macedonia\, Greece at about the 2nd half of the 4th century BCE. Melodic materials derive from the archaic Spondeion scale that was used to accompany certain religious processions.\nThe computer alters the aulos sound in real-time based entirely on custom combinations of variable delay and FFT algorithms\, without using any prerecorded materials. Gorgons’ Cry is the first composition in the modern repertory involving aulos and live electronics. \nAbout the artists\nKonstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry\, artistic cinema\, abstract painting\, mysticism\, Greek mythology\, and the writings of Carl Jung. His compositions have been performed at numerous festivals and received awards in international competitions\, including Musica Nova\, SIME\, SEAMUS/ASCAP\, Música Viva and Bourges. Recordings of his music are released by SEAMUS\, ICMA\, Musica Nova\, Innova\, Equilibrium and HELMCA. Ravello Records released in March 2026 his solo album Resonant Mythologies with the support of the University of Oklahoma. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo. He serves as Professor of Composition & Music Technology at the University of Oklahoma. More info at: http://karathanasis.org \nInstrumentalist: Callum Armstrong\nCallum Armstrong is an award winning multi-instrumentalist specialized in Early Music. For over a decade\, Callum has devoted a great deal of his time to the revival of ancient Greek and Roman auloi. He has a YouTube channel\, the ”The Aulos Collective” which is dedicated to how auloi were made\, played\, and used\, in collaboration with the luthier Max Brumberg. Callum regularly performs internationally as a soloist\, in various ensembles\, and works as a composer\, teacher and session musician for film and computer games. Recently Callum was the subject of the documentary ‘Callum Armstrong the Aulete’ which won 1st price from the Ierapetra international film festival. \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-6a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260627T134824
CREATED:20260421T162627Z
LAST-MODIFIED:20260514T103041Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nX6 – Hexaphonic Spatialized Guitar\nFrancesco Perissi and Giovanni Magaglio \nThe Water lily in the blaze\nNatsuki Kambe\nDouble bass: John Eckhardt \nconfim\, assim\, sem fim\nRodrigo Pascale\nDouble bass: John Eckhardt \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nResonant Thresholds\nCecilia Suhr \n\n\n  \nAbout the pieces & artists\nFrancesco Perissi and Giovanni Magaglio: X6 – Hexaphonic Spatialized Guitar\n\nThe “X6 – Hexaphonic Spatialized Guitar” project is about an augmented electric guitar designed for 6.1 channel spatialization. With the X6 setup and a special breakout cable\, it is possible to manage the sound from a hexaphonic pickup\, which separates the guitar signal into six independent channels\, one for each string. These signals are sent to a computer\, where Max/MSP processes them in real time with filters\, loops\, sound manipulation\, and spatial projection. The first version of the project had a fixed structure controlled by a sequencer that automated the filters. In the latest version\, a flexible multi-channel filter matrix has been added\, together with inputs for voice\, electronic instruments\, and samples. This makes the performance more open and improvisational\, allowing for control over time\, sound layering\, spatial gestures\, and vocal or electronic transformations. The idea is to build a self-made hyper-instrument where the performer and the algorithms influence each other\, creating electroacoustic music distributed in space and combining different musical practices. The newest patch\, version 20\, also uses artificial intelligence. With machine learning tools (FluCoMa)\, the system can recognize instrumental gestures and automatically change filter settings. With neural synthesis (RAVE)\, it can modify the sound of each string by acting on the latent spaces of the model\, producing deep timbral changes. The project also includes an interactive audio-visual part made with software TouchDesigner\, where the screen is divided into six sections that represent the six guitar strings. The visuals are generated with AI using prompts inspired by Renaissance painting\, but mixed with modern themes such as social distortion\, bias\, and the perceptual effects of today’s hyper-technological world. Overall\, the concept points to a kind of “second Renaissance.” It suggests that we are living in a new era in which imagination is shaped not by traditional art forms or systems of patronage\, but by digital technology. This new technè inaugurates unprecedented creative possibilities\, while also raising ethical\, cognitive\, and epistemological questions that we are only beginning to grasp. \nAbout the artists\nFrancesco Perissi is a composer\, guitarist\, and sound engineer based in Florence. He teaches Computer Music at the “Maderna Lettimi” Conservatory in Cesena and is the creator of the “X6” project for hexaphonic spatialized guitar\, as well as the founder of “match”\, a meeting dedicated to electroacoustic improvisation. His research explores the expressive potential of technology in music\, with a focus on the relationship between instruments and sound spatialization. Using interactive devices\, multichannel systems\, and real-time processing\, he creates works for electronic music\, installations\, and live performance\, blending contemporary languages with avant-pop influences and emphasizing the relationship between body\, gesture\, and space.\nGiovanni Magaglio is a sound and visual artist whose work centers on concrete sound\, timbral transformation\, and the perception of acoustic space. He creates layered soundscapes that invite immersive and active listening. He teaches Multimedia at the Conservatory of Florence and works across installations\, theater\, and audiovisual productions for short and feature films. His practice investigates the interplay between image\, sound\, and perceptual space\, shaping sensory environments where reality and representation intersect.\n\nGiovanni Magaglio\n  \n\nNatsuki Kambe: The Water lily in the blaze \nThis work for double bass and live computer electronics explores the wide range and rich timbral possibilities of the instrument through real-time signal processing in Max. Combining the powerful energy of the low register with the delicate beauty of flageolet harmonics in the high register\, the piece evokes the poetic image of water lilies glowing in a blazing sunset. This work was composed to explore the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, the composer further expands its sonic potential through live electronics. The low register conveys a powerful\, flame-like energy\, while the high register\, produced through flageolet harmonics\, possesses a delicate beauty reminiscent of water lilies. These contrasting elements are brought together into a single poetic image: a burning sunset reflected on a pond\, with water lilies blooming in its shadow.\nFor the electronic component\, the composer used TRLib\, a Max object library for the realization of interactive computer music developed by Takayuki Rai. Throughout the piece\, grbFM\, which realizes granular sampling techniques in real time\, is employed extensively: in the low register\, it generates noise-based textures\, including quarter-tone inflections\, while in the high register\, it creates chordal sonorities inspired by the Japanese traditional wind instrument shō.\nAbout the artists\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \nDouble bass: John Eckhardt \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artists\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \nDouble bass: John Eckhardt \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n  \nYao Hsiao: Empress Luo\nEmpress Luo is a mixed-media electroacoustic composition inspired by the historical and literary figure Zhen Mi\, whose image is intertwined with the Luo River Goddess depicted in Cao Zhi’s poetic work Ode to the Nymph of the Luo River. Drawing from Peking opera traditions associated with this narrative\, the piece explores themes of political power\, gendered violence\, and silenced agency through an integration of live voice\, processed sound\, and gestural control.\nThe work incorporates melodic and expressive references to the Peking opera Ode to the Nymph of the Luo River\, particularly scenes associated with the guqin and the lament Eighteen Songs of a Nomad Flute\, historically attributed to Cai Wenji. These materials are recontextualized within an electroacoustic framework to highlight parallels between women whose lives were shaped by forced displacement\, marriage\, and warfare.\nA Wacom tablet is employed as a gestural controller\, functioning both as a performative interface and as a symbolic extension of the protagonist’s corporeal presence. Through touch-based interaction\, the performer shapes selected sonic parameters in real time\, evoking both the physical posture of guqin performance and the imagined divine authority of the Luo River Goddess. This interface mediates control between the performer and the system\, reflecting fluctuating degrees of autonomy and constraint.\nThe sonic structure combines live vocal performance with pre-recorded and live-triggered audio materials. At times\, the voice assumes a dominant role; at others\, it is fragmented\, processed\, or submerged within the playback system. This dynamic relationship mirrors the tension between personal expression and externally imposed forces\, suggesting a trajectory from presence and agency toward erasure.\nTextual fragments drawn from classical Chinese poetry appear within the work\, referencing fraternal conflict\, political rivalry\, and lamentation. Through the interaction of voice\, gesture\, and electronic sound\, Empress Luo reflects on historical narratives of loss and power while reimagining them within a contemporary performance context. \nAbout the artist\nYao Hsiao is a performer-composer and voice artist from Taiwan\, specializing in music\, theater\, and multimedia art. They are the First Prize winner of the 2025 SEAMUS Student Commission Competition for Daiyu\, and a finalist in the 2024 Sweetwater/SEAMUS Student Commission Competition for Consort Yu. Hsiao has performed at international festivals including NIME\, SEAMUS\, ICMC\, NYCEMF\, MOXsonic\, EMM\, SPLICE\, CampGround\, and Click Fest.\nThey hold a Master of Music in Composition from Indiana University and are pursuing a Ph.D. in Data-driven Music Performance and Composition at the University of Oregon under Jeffrey Stolet\, where they also serve as a Graduate Employee.\nInspired by literature—from Western poetry to Chinese verse and Japanese haikus—Hsiao creates interdisciplinary works that blend traditional vocal techniques\, Peking and Yue Opera\, and Chinese dance with live electronics\, reflecting their cross-cultural and technological vision. \n  \nCecilia Suhr: Resonant Thresholds\nResonant Thresholds explores the liminal space between human expression and technologically mediated sound. Structured around a fixed audio score\, the work unfolds as a slowly transforming audiovisual environment in which live violin performance interacts with real-time electronic processing. Noise\, resonance\, and breath-like textures blur distinctions between acoustic intimacy and digital vastness\, allowing the materiality of sound to become porous and unstable. Through structured live comprovisation (composed improvisation)\, the performer actively shapes the unfolding sonic landscape\, while the processed audio simultaneously generates an evolving visual score that functions as a symbolic translation of sound. The work invites listeners to inhabit a threshold between perception and imagination\, where meaning emerges through the continuous negotiation between composed structure\, live performance\, and technological extension. \nAbout the artist\nCecilia Suhr is an award-winning intermedia artist\, multimedia composer\, researcher\, author\, and multi-instrumentalist (violin\, cello\, voice\, piano\, bamboo flute). Her honors include the Pauline Oliveros Award (IAWM)\, a MacArthur Foundation DML Grant\, the American Prize (Honorable Mention)\, Global Music Awards\, Best of Competition from BEA\, among other distinctions. Her work has been presented at ICMC\, SEAMUS\, NYCEMF\, EMM\, SCI\, ACMC\, Mise-En\, MoXsonic\, and many more. She is a Full Professor at Miami University Regionals. \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260513T133000
DTEND;TZID=Europe/Amsterdam:20260513T153000
DTSTAMP:20260627T134824
CREATED:20260421T161440Z
LAST-MODIFIED:20260512T080354Z
UID:10000085-1778679000-1778686200@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 3A
DESCRIPTION:Concert 3A offers a fascinating stage for the Steinway Spirio—the world’s most advanced self-playing piano system. In this session\, the piano is taken far beyond its traditional role: it acts as an autonomous performer\, a controller\, and even an interface for human brain activity. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\n“Empathic Machines” for One Pianist’s Mind and Steinway & Sons SPIRIO\nMasatsune Yoshio and Atsushi Mori\nPiano: Atsushi Mori \nMulholland Revisited \nHeloise Garry \nUsher\nJeffrey T.V. \nSpring Code \nJian Feng\nHarp: Armand Brunet (Ensemble 404) \nVoici que la saison décline\nMikako Mizuno\nClarinet: Anyu Lyu (Ensemble 404) \nElevator Pitch\nJuan Vassallo\nCello: Antonio Lo Curto (Ensemble 404) \nChant\nYoonjae Choi\nCello: Antonio Lo Curto (Ensemble 404) \n  \nAbout the pieces & artists\nMasatsune Yoshio: Empathic Machines\nWhat lies beyond the pianist’s technical skill – music in which body and mind are fully integrated.\nIn this work\, the pianist’s brainwaves are detected using the FocusCalm™ device together with the Good Brain app\, which enables UDP measurement. The data is then processed in Max 9 and Somax2 to generate performance information\, which is transmitted to and played by the Steinway & Sons SPIRIO self‑playing piano.\nThrough this body‑extended form of expression\, a kind of piano music emerges that cannot be reached by human hands alone\, offering a speculative answer to the question posed at the beginning. \nAbout the artists\nMasatsune Yoshio (1972- ) was born in Kobe. He is a composer and Media Master No. 75. His specialty is the composition of fine art pieces using computers and the compositions are based on the creation of and research regarding algorithmic compositions\, acoustic synthesizing\, live electronics\, and expression with information technologies. His electroacoustic pieces were performed within and outside of Japan. He is an associate professor at Showa University of Music. \nPiano: Atsushi Mori\nAtsushi Mori is an Associate Professor at the Junior College Division of Showa University of Music.He completed his studies in the Department of Composition and the Graduate School at Showa University of Music\, studying under Kazuhisa Akita.\nIn 1987\, he received the Silver Prize in the A1 Category of the PTNA Piano Competition\, and in 1993\, he performed with the Warsaw Philharmonic as part of the Yamaha JOC overseas concert tour. He composed Fanfare for the “Festival of Student Orchestras” in 2002.\nIn addition to his work as a composer\, Mori is active as a keyboardist\, providing live support\, arrangements\, and recordings. He also specializes in music production using DAWs such as Ableton Live and Logic\, and is dedicated to the analysis of popular music and the development of solfège teaching materials. His research focuses on the integration of digital technology and music education. \n  \nHeloise Garry: Mulholland Revisited\nMulholland Revisited is an interactive composition for Yamaha Disklavier / MIDI keyboard and ChucK\, integrating real-time interaction between acoustic and electronic elements. By leveraging MIDI input\, the piece enables the piano to function as both a performer and a controller\, triggering ChucK-generated sound textures in response to live performance. Inspired by a pivotal phone conversation in Mulholland Drive (Lynch\, 2001)\, the work explores the blurred boundary between dream and reality through a dynamic interplay between piano-generated material and algorithmic sound synthesis. The electronic elements emerge as an extension of the piano’s acoustic voice\, reinforcing the psychological tension that defines the narrative arc. An homage to David Lynch\, the piece mirrors his fascination with fractured identities and surreal atmospheres\, immersing the listener in a sonic landscape that expands the piano’s traditional interface into new musical and narrative dimensions. \nAbout the artist\nHéloïse Garry is an artist working at the intersection of filmmaking\, theater\, and performance\, exploring the aesthetics of totality across art forms. Her compositions reflect a deep interest in cross-cultural and linguistic experimentation\, and sonic storytelling. Her work has been presented at ICMC\, NIME\, NYCEMF\, ICAD\, Audio Mostly\, the Audio Engineering Society\, and the Internet Archive. As a Yenching Scholar at Peking University\, she researched the politics of independent Chinese cinema and the role of music in the films of Jia Zhangke. An artist-in-residence at Gray Area and the Mozilla Foundation in San Francisco\, she has collaborated with IRCAM and the Columbia Computer Music Center\, and explored the sonification of the universe under the mentorship of physicist Brian Greene. In September 2024\, she joined Stanford’s Center for Computer Research in Music and Acoustics (CCRMA)\, where she studies with Mark Applebaum\, Paul DeMarinis\, and Ge Wang. Héloïse holds bachelor’s degrees in Filmmaking\, Economics\, and Philosophy from Columbia University\, Sciences Po\, and Sorbonne University. \n  \nJeffrey T.V.: Usher\nUsher is a new soundtrack for the 1928 silent film The Fall of the House of Usher\, co-directed by J.S. Watson and Melville Webber and based on the 1839 short story by Edgar Allen Poe. The primary goal of this electronic score was to enhance both the dramatic content of the film and emphasize the surrealist imagery laden throughout. Through the use of modular synthesizers\, this resulted in a piece existing between filmscore and audio-visual composition. \nAbout the artist\nJeffrey T.V. is a New England-based electroacoustic composer and classically trained vocalist. His compositional output primarily deals in combining generative sound withimprovised response through combinations of electronic and acoustical instruments\, with a special interest in modular synthesizers. His music has been featured at Electronic Music Midwest\, SEAMUS\, NYCEMF\, ICMC\, Salisbury University\, Bucknell University\, the University of Kentucky Art Museums\, and other venues across the United States.  \n  \nJian Feng: Spring Code\nSpring Code is a real-time interactive audiovisual work that revives the konghou (Chinese harp)—once lost for centuries—through a custom responsive interface. Treating classical poetic aesthetics as a generative source\, it reimagines Wang Wei’s line “Clear spring flows over stones” not as an illustration\, but as executable logic: a living data stream shaped by performance.\nThe konghou functions simultaneously as an instrument and an expressive interface. Its acoustic output—plucks\, harmonics\, string vibrations—is captured via a microphone\, while performer gestures are tracked through laser distance\, pressure\, and sliding touch sensors. All inputs are fed into an integrated system built on Max/MSP\, Arduino\, and TouchDesigner\, driving real-time granular synthesis\, adaptive spatialization (VBAP)\, dynamic visuals\, and responsive light from addressable LED strips.\nThe resulting soundscape evokes the fluidity of mountain streams; its visual layer maps audio features to flowing particles\, creating a multimodal environment where cultural memory is continuously re-encoded. “Spring” embodies nature’s flow; “Code” pulses as digital lifeblood. Rather than preserving tradition as an artifact\, Spring Code compiles it anew in every performance—where hand gestures conduct light and data\, and konghou tones shape space and sound.\nBetween the echo of a mountain spring and the pulse of an algorithm\, the work constructs an inexhaustible river of resonance across time. In Spring Code\, the spring never dries—the code never stops flowing. \nAbout the artists\nJian Feng is a composer and Associate Professor at the Wuhan Conservatory of Music\, where she serves as Director of the Center for Computer Music Composition Research. She was a visiting scholar at the Center for New Music and Audio Technologies (CNMAT) at the University of California\, Berkeley\, supported by the China Scholarship Council.\nHer creative and research practice centers on interactive electronic music and the application of artificial intelligence in musical contexts. Her works have been presented at leading international forums and festivals\, including the International Computer Music Conference (ICMC)\, the International Society for Contemporary Music (ISCM) World New Music Days\, Frontier+ Festival (UK)\, MUSICACOUSTICA-Beijing\, MUSICACOUSTICA-Hangzhou\, and the Shanghai International Electroacoustic Week.\nFeng holds key roles in China’s interdisciplinary arts–technology community: Deputy Secretary-General of the Electronic Music Society of the Chinese Musicians Association\, Committee Member of the Art & Artificial Intelligence Specialized Committee of the Chinese Association for Artificial Intelligence (CAAI)\, and Executive Committee Member of the Computational Arts Division of the China Computer Federation (CCF). \nHarp: Armand Brunet (Ensemble 404) \n  \nMikako Mizuno: Voici que la saison décline\, for clarinet and electronics\nThe electronic part of this piece comprises sound files containing grains of different pitches and sizes\, all of which are derived from clarinet performance. These grains are placed in the field by spat. program and diffused through a cube-shaped multi-channel system. The subscribed version is rendered into four channels. The solo clarinet is required to produce special tone colours using multiphonic techniques\, breath tones\, harmonic colour trills\, etc. The subtle timbre of the instrument connects the minute changes in visual colours and the passing of time\, which were depicted in a poem by Victor Hugo.\nThe title of this piece comes from one of Hugo’s poems. At the end of summer\, the season seamlessly transitions to autumn. The bright blue sky turns grey\, the birds shiver and the grass feels cold. I tried to create sounds that reflect these slight changes and delicate nuances.\nThe clarinet’s multiphonic sound is enhanced by harmonised breath tones. The harmonisation\, realized by special signal processing\, involves not only layered pitches\, but also the filtering of noisy long breaths. In the performance\, especially in the latter half of the piece\, Max for Live is necessary to certify the effective interactive ensemble between the clarinet player and the electronic part\, which must fulfil the notated musical ensemble. The instrumentalist can play the piece according to the usual musical notation\, because some notated guides in the electronic part show the tempo and the nuance of phrase for the musician\, which are often the case in the latter half of this piece. The instrumentalist is sometimes demanded to catch the electronic un-pitched noisy sounds during the fermata or the rest. \nAbout the artists\nMikako Mizuno. Composer/Musicologist. Mainly active in Japan\, her music has been heard in many places including France Germany\,Austria\, Hungary\, Italy\, Republic of Moldova\, and international festivals and conferences such as ISEA\, ISCM\, EMS\, Musicacoustica\, WOCMAT\, NIME\, ICMC\, NYCEMF. Her pieces range from orchestra\, chamber music\, vocal ensemble\, traditional Japanese instruments (sho\, koto\, shakuhachi\, no-flute\, biwa etc.) to networked remote performance through ipv6. \nClarinet: Anyu Lyu (Ensemble 404) \n  \nJuan Vassallo: Elevator Pitch\nPhilosopher Hartmut Rosa suggests that our society is characterized by acceleration due to rapid technological advancements\, leading to constant time shortages. As we adapt to quick updates via smartphones and social media\, communication becomes faster and more fragmented\, favoring brief\, direct forms like the elevator pitch. An elevator pitch is a short summary speech meant to convey ideas or products within the duration of an elevator ride. It is aimed at being clear and persuasive to a wide audience.\nIn politics\, new communication techniques exploit these brief\, impactful messages\, often oversimplifying complex issues and lacking depth. Such strategies have been criticized for manipulating public opinion and stirring emotions\, leading to biased and divisive rhetoric that can aid authoritarian or intolerant movements.\nThe piece poses an artistic focus on these contemporary methods of communication -such as an elevator pitch- and the potential for manipulation of sound-bite content by political figures. The piece thus is a sardonic analogy to a political speech\, which is portrayed here as empty of substance\, and as a construct derived from a carefully crafted algorithmic rhetoric\, and the sonification of spoken phrases. Additionally\, nonsensical political speeches synthesized through commercial text-to-speech systems are used as sound material for the electronics. \nAbout the artists\nJuan Sebastián Vassallo is an Argentinian composer and live-electronics performer based in Bergen\, Norway. He holds a Ph.D. in Artistic Research from the University of Bergen. His artistic research explores human–computer interaction in art creation\, at the intersection of computer-assisted composition\, artificial intelligence\, algorithmic poetry\, generative visuals\, and live electronics. \nHis music has been performed internationally by ensembles and soloists including Projecto RED (Argentina)\, Quasar Saxophone Quartet (Canada)\, Hinge Quartet (USA)\, Vocal Ensemble Tabula Rasa (Norway)\, Edvard Grieg Kor (Norway)\, JÓR Saxophone Quartet (Scandinavia)\, Zone Experimental Basel (Switzerland)\, and Lucas Fels (Germany)\, among others. \nHis work has received multiple awards\, including first prize at the AI-based composition contest at the IEEE Conference on Big Data (Washington\, D.C.) for Oscillations (iii). Other distinctions include selections and awards from the National Endowment for the Arts (Argentina)\, ISCM/Chengdu River Sun Prize (China)\, and several contemporary art competitions. \nHe has received international grants from UNESCO-Aschberg and the Organization of Ibero-American States (IBERMÚSICAS)\, supporting artistic residencies in the United States. His practice is strongly collaborative and interdisciplinary\, and alongside his experimental work\, he maintains an active career as a tango pianist and arranger. \nCello: Antonio Lo Curto (Ensemble 404) \n  \nYoonjae Choi: Chant\nChant is a live electronic work that transforms the cello through vowel-based formant processing\, creating a hybrid vocal–instrumental language reminiscent of primordial voice. As part of a broader research project on real-time live electronics formant synthesis\, the piece explores how electronic modulation can expand instrumental identity and shape emotive\, multi-voiced textures. \nAbout the artists\nYoonjae Choi is a South Korean composer whose work explores the musical potential of extended tones and spectral qualities drawn from both traditional instruments and non-instrumental materials. His compositional practice focuses on integrating acoustic sound with live electronics\, soundscapes\, and computer-based technologies. He frequently collaborates across media arts and experimental music disciplines. \nHe studied with Richard Dudas at Hanyang University and with John Gibson and Chi Wang at Indiana University. He is currently pursuing a doctoral degree in composition at the University of North Texas\, studying with Panayiotis Kokoras. His music and research have been featured at international conferences and festivals. \nCello: Antonio Lo Curto (Ensemble 404) \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-3a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T133000
DTEND;TZID=Europe/Amsterdam:20260512T150000
DTSTAMP:20260627T134824
CREATED:20260421T165721Z
LAST-MODIFIED:20260512T080329Z
UID:10000176-1778592600-1778598000@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 2A
DESCRIPTION:The second lunch concert of ICMC HAMBURG 2026 takes listeners on a journey through different cultures and technological approaches. The focus is on transformation: how are traditional instruments\, natural sounds\, or even everyday noises reinterpreted through the lens of computer technology and artificial intelligence?\nThe international composers are once again partly supported by Hamburg’s Ensemble 404\, which bridges the gap between academic composition and vibrant performance. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nPlight of the Monarch\nSalvatore Siriano \nSprinkle\nHuixin Xue\nPipa: Yinghan Liu\nComputer Music Designer: Shihong Ren \nLate Shift \nBenjamin Broening\nFlute: Giusy Panzanaro (Ensemble 404) \nFall and Rise\nWan Heo\nViolin: Bahar Erunsal (Ensemble 404) \nSqueakeasy \nJonathan Wilson\nViolin: Yao Dong Zhang (Ensemble 404) \nI Dreamed of Naïma \nChristopher Dobrian\nVibraphone: Aiyun Huang \nFree-Wheelerish (a movement from the suite Things Ain’t What They Used To Be)\nMark Whitlam\nPercussion: Mark Whitlam\nBassoon: Rodrigo Rodrigues (Ensemble 404) \n  \nAbout the pieces & composers\nSalvatore Siriano: Plight of the Monarch\nMonarch butterfly populations face ongoing and compounding threats driven by habitat loss\, pesticide exposure\, invasive plant species\, and continued encroachment on open land where milkweed once thrived. Since the mid-1990s\, eastern migratory monarch numbers have fallen to a fraction of their historical peaks; although recent seasons have shown modest recovery\, populations remain far below long-term averages.\nWithin this context\, the work traces key stages of the monarch lifecycle\, including overwintering in Mexico\, migration\, mating\, and reproduction\, using scientific data from the Monarch Joint Venture and the U.S. Geological Survey translated into sonic parameters through additive and FM synthesis. Long-term population trends shape the evolving texture\, dynamics\, and rhythmic behavior of the sound\, allowing ecological data to inform the temporal and spectral structure of the audio.\nTranslation also operates across media. Original filmed footage from the Fox River Valley in Illinois\, a recurring migratory and breeding landscape for eastern monarch populations\, is transformed through point-cloud and depth-camera processes. Human presence and natural environments are rendered as shifting\, particle-based forms whose fragmentation mirrors the precarity of monarch habitats\, situating ecological data within a perceptual and embodied frame rather than a purely representational one.\nThe work concludes with documentation of a community-based public artwork that distributes milkweed seeds to local residents. While the piece does not involve direct audience interaction\, this closing gesture reframes participation as shared responsibility. Rather than positioning environmental change solely at the level of policy\, the work emphasizes individual and community-scale actions\, such as reducing pesticide use\, planting milkweed and other native species\, and allowing greater biodiversity within managed landscapes\, as tangible responses to ongoing habitat loss. Because eastern North American monarch butterflies lay their eggs exclusively on milkweed\, these localized decisions directly shape their capacity to survive and reproduce. \nAbout the artist\nSalvatore Siriano is a Chicago-based composer\, audiovisual artist\, and educator whose work explores the relationship between sound\, image\, and the natural environment through digital media. His recent works have been presented at Sound/Image Festival (UK)\, SICBM (Brazil)\, Seoul International Computer Music Festival\, Art Alive Festival (Portugal)\, WOCMAT (Taiwan)\, NOIS//E (Italy)\, as well as ICMC\, NYCEMF\, and SEAMUS. He is full-time music faculty at Triton College. \n  \nHuixin Xue: Sprinkle\nThis piece seeks to explore new timbres and performance techniques for the pipa\, aiming to integrate the language of electronic music with the instrument’s sound in order to present a novel acoustic effect.\nThe pipa uses an unusual strings A #D E #G. \nAbout the artists\nHuixin Xue is a Chinese composer\, music producer and Music AI researcher. She is a Ph.D. candidate in Music AI at Shanghai Conservatory of Music\, an exchange student at the Hamburg University of Music and Theatre. She graduated from the Music Engineering Department of Shanghai Conservatory of Music both for her bachelor’s and master’s degrees.\nHer pieces won numerous awards\, including The Honorable Mention of the 2024 Sound Chain International Electronic Music Composition Competition (the only Chinese winner among the 6 winners worldwide). Her work was presented at the 2025 ICMC. Her pieces have been performed at major festivals. She also has participated in over twenty commercial music creation projects.\nDuring her doctoral studies\, she participated in the development of the AI Music Therapy Pod at the Shanghai Conservatory of Music\, co-developed SongEval\, the first aesthetic evaluation dataset for AI-generated songs\, and contributed to organizing the Automatic Song Aesthetic Evaluation Challenge at ICASSP 2026. \nPipa: Yinghan Liu \nComputer Music Designer: Shihong Ren \n  \nBenjamin Broening: Late Shift\nLate Shift explores the liminal light of dusk as shadows lengthen\, the bright colors of day darken\, and the familiar world is gradually transformed. A comparable transformation takes place in Late Shift: the flute and electronics slowly descend to lower registers over the course of the piece as flute sounds are gradually replaced by whispering percussion sounds in the electronics. \nAbout the artists\nBenjamin Broening’s music has been called “adventurous\, thoughtful\, eloquent\, and disarmingly direct.” His orchestral\, choral\, chamber and electroacoustic music has been performed in over twenty-five countries and across the United States by many soloists and ensembles.\nBroening is recipient of Guggenheim\, Howard and Fulbright Fellowships\, and has also received recognition and awards from the American Composers Forum\, Virginia Commission for the Arts\, ACS/Andrew Mellon Foundation\, the Jerome Foundation and the Presser Music Foundation among others.\nTrembling Air\, a Bridge Records release of his chamber music recorded by Eighth Blackbird\, has been praised as “haunting” and “enchanting” (Cleveland Plain Dealer)\, “magical” (Fanfare)\, “other-worldly” (Gramophone)\, and “coruscatingly gorgeous” (CD Hotlist). Critics have called Recombinant Nocturnes\, a disk of music for piano recorded by Duo Runedako “ breathtaking” (World Music Report) and “deep\, troubling” (François Couture). Nineteen other pieces have been released by Ensemble U: in Estonia and on the Centaur\, Everglade\, Equilibrium\, MIT Press\, Oberlin Music\, Open G\, Métier\, New Focus\, Ravello and SEAMUS record labels.\nBroening is founder and artistic director of Third Practice\, an annual festival of electroacoustic music at the University of Richmond\, where he is Professor of Music. He holds degrees from the University of Michigan\, Cambridge University\, Yale University\, and Wesleyan University. \nFlute: Giusy Panzanaro (Ensemble 404) \n  \nWan Heo: Fall and Rise\nFall and Rise is the second episode of my previous solo cello piece\, When It Falls. Drawing from the same inspiration\, which was the fallen leaves on the ground at Jeolmul Forest in Jeju Island\, Korea\, with a variety of colors and shapes\, this version for amplified violine and electronics focuses more on the timbre of the instrument. Particularly\, transitions between normal to harmonics\, different fingerings\, and how they create different textures and sonorities. \nRecording of When It Falls and field recordings from Jeolmul Forest were processed using modular synthesis\, creating certain atmosphere to the piece. Pitch and rhythmic materials for the violin was extracted from spectral analysis of the recordings which gives the sonic coherence to the three different sound sources. \nAbout the artists\nWan Heo is a Korean-born composer based in Chicago. Her works have been performed internationally in South Korea\, Germany\, Italy\, Singapore\, Spain\, and throughout the United States. Her percussion solo Unveiled Future is published by Alfonce Production.\nWan’s music has been commissioned and featured by Darmstädter Ferienkurse\, SEAMUS\, Yarn/Wire\, VIPA\, among others. She received an Honorable Mention for the Christine Clark/Theodore Front Prize in the IAWM New Music Search.\nHer doctoral dissertation explores the vulnerability of South Korea’s sonic environments through field recordings made at Buddhist mountain monasteries. Works from this project have been presented at NYCEMF\, the Composition in Asia Conference\, and NSEME.\nWan is a Visiting Assistant Professor at Wake Forest University. She holds a B.M. in Composition from Ewha Womans University and an M.M. in Composition from Florida State University. She is currently ABD in the Ph.D. program in Composition and Music Technology at Northwestern University\, where she works under the guidance of Alex Mincek\, Stephan Moore\, and Jay Alan Yim. \nViolin: Bahar Erunsal (Ensemble 404) \n  \nJonathan Wilson: Squeakeasy \nSqueakeasy was written for Maja Cerar during the COVID-19 pandemic from late 2020 to the early summer of 2021. The composition was conceived from my accidental discovery of a metallic chair that was loosely bolted to a metal patio set and could pivot in such a way to create an ear-piercing\, yet irresistible screech. The timbral qualities of that chair intrigued the composer to determine the various sonic transformations that could be realized after recording that initial sound\, which quickly led to pairing the electronics with the violin because of the multimbral similarities observed between them. Additional recordings of squeaky wooden surfaces\, such as a wooden chair and floorboards\, were included to enhance the timbral relationships between violin and electronics. The composer’s decision to explore their timbral relationships was partly inspired by Denis Smalley’s “Base Metals” by relating metal-based and wood-based sound families from the electronics to different violin timbres or extended techniques such as col legno\, glissando\, tremolo\, pizzicato\, ricochet\, and natural and artificial harmonics. The structure of this composition alternates between sections with performer + electronics and cadenzas with amplified violin\, which could be loosely described overall as a concertino for amplified violin based on the virtuosic elements of the violinist’s performance. The sound of the violin is amplified throughout the work by the electronic performer’s patch that was programmed on Max/MSP. The performer of the electronics triggers each instance of fixed media from the laptop while the performer follows both the score and a counter/timer that is displayed on a separate computer monitor. \nAbout the artists\nDr. Jonathan Wilson’s works have been performed at the Ann Arbor Film Festival\, European Media Art Festival\, ICMC\, SICMF\, SEAMUS\, NYCEMF\, MUSELAB\, NSEME\, Napoleon Electronic Music Festival\, Iowa Music Teachers Association State Conference\, and Midwest Composers Symposium. He is the winner of the 2014 Iowa Music Teachers Association Composition Competition. Jonathan has studied composition with Lawrence Fritts\, Josh Levine\, David Gompper\, James Romig\, James Caldwell\, Paul Paccione\, and John Cooper. In addition\, studies in conducting have been taken under Richard Hughey and Mike Fansler. Jonathan is a member of Society of Composers\, Inc.\, SEAMUS\, ICMA\, and the Iowa Composers Forum. \nViolin: Yao Dong Zhang (Ensemble 404) \n  \nChristopher Dobrian: I Dreamed of Naïma\nI Dreamed of Naïma for vibraphone and interactive computer system references a composition by John Coltrane in fragmented and distorted fashion\, as if recollected in a dream. The computer program\, written in Max for Live\, senses the sound of the vibraphone\, and algorithmically adds its own sounds to extend and elaborate the instrumental sound. The 7-minute piece mixes composition and improvisation\, with the computer performing interactively and responsively (with no attending technician needed)\, such that each performance is unique. \nAbout the artists\nChristopher Dobrian is Professor Emeritus of Integrated Composition\, Improvisation\, and Technology in the Department of Music\, with a joint appointment in the Department of Informatics\, at the University of California\, Irvine. He is a composer of instrumental and electronic music\, and taught courses in composition\, theory\, and computer music. He conducts research on the development of artificially intelligent interactive computer systems for the cognition\, composition\, and improvisation of music. He has published technical and theoretical articles on interactive computer music\, and is the author of the original reference documentation and tutorials for the Max\, MSP\, and Jitter programming environments by Cycling ’74. He holds a Ph.D. in Composition from the University of California\, San Diego\, where he studied composition with Joji Yuasa\, Robert Erickson\, Morton Feldman\, and Bernard Rands\, computer music with F. Richard Moore and George Lewis\, and classical guitar with the Spanish masters Celin and Pepe Romero. Dobrian has been an invited Fulbright specialist at the Korean National University of Arts\, the University of Paris-Sorbonne\, McGill University in Montreal\, and the Accademia Chigiana in Siena\, and has been a guest professor at Yonsei University\, Taiwan National Normal University\, University of Paris 8\, and the National University of Quilmes in Argentina. \nVibraphone: Aiyun Huang\nAcclaimed percussionist Aiyun Huang has performed with leading orchestras and at major international festivals worldwide\, premiering works by contemporary composers. Her research explores the performing body across music\, dance\, theatre\, and media technology\, and she directs the TaPIR Lab at the University of Toronto\, where she is Professor of Music. She founded the biennial Transplanted Roots percussion symposium\, has served as a juror and keynote speaker at prestigious events globally. Born in Taiwan\, Aiyun was named a Fellow of the Royal Society of Canada in 2024. \n  \nMark Whitlam: Free-Wheelerish (a movement from the suite Things Ain’t What They Used To Be)\nThe movement from a longer suite—titled in reference to Duke Ellington’s big band jazz classic\, released over sixty years ago—offers a gentle provocation\, contrasting traditional approaches to jazz improvisation with emerging paradigms in human–AI interaction. Combining real-time machine learning and deep learning tools\, the piece stages a live collaboration between improvising human musicians and generative AI agents. Central to the work is a subversion of the established technique of the contrafact\, whereby new melodies are composed over pre-existing chord progressions. Here\, the process is inverted: AI agents are tasked with reharmonising composed melodic lines\, thereby disrupting the expected harmonic framework. This indeterminacy both encourages and challenges the performers to find new musical responses. \nLeveraging technologies including Somax2\, RAVE\, Mosaïque\, and Google MediaPipe within MaxMSP\, the system enables algorithmic agents to act as both collaborative and disruptive partners in the performance loop. These agents generate unexpected musical gestures and offer novel\, interactive visual and audible modalities that stimulate and provoke the performers. The result is an evolving musical language that emerges from the entangled dynamics of this extended network of human and machine improvisers. \nAbout the artists\nMark Whitlam has been a professional musician for 25 years\, having toured internationally with UK jazz luminaries including Andy Sheppard\, Iain Ballamy and Jason Rebello (Sting) and Mercury Prize Nominee Eliza Carthy. Recent collaborations have included work with Adrian Utley (Portishead) and Will Gregory (Goldfrapp). He has also collaborated with Mercury Prize His compositions and performances have received airplay on BBC radio 2\, 3 \,6 and Jazz FM\, with TV credits including HBO’s miniseries Industry. Mark teaches in the UK at Bath Spa University and BIMM University\, where he is a senior lecturer. He is mid-stage in his PhD in Composition at the University of Bristol\, UK\, exploring the affordances offered by generative AI agents in the liminal space between composition and improvisation. He also has a keen interest in the links between actor network theory and 4E cognition in the space of human-AI mediated music-making. \nPercussion: Mark Whitlam \nBassoon: Rodrigo Rodrigues (Ensemble 404) \n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-2a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, 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:20260511T133000
DTEND;TZID=Europe/Amsterdam:20260511T150000
DTSTAMP:20260627T134824
CREATED:20260421T084731Z
LAST-MODIFIED:20260512T080321Z
UID:10000077-1778506200-1778511600@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. \nThis Lunch Concert is open to the public. Those without a conference pass can purchase a ticket here. \n  \nProgram Overview\nTyche\nSever Tipei\nClarinet: Esther Lamneck \nHOTPO\nMichael Edwards\nAlto Saxophone: Henrique Portovedo \nItera \nDeniz Caglarcan \nTessellae\nRodrigo Cadiz\nPercussion: Thierry Miroglio \nThe Center of the Universe\nSunhuimei Xia \nLa Nuit Bleue\nZhixin Xu and Yunze Mu \nDream Voyager: A Pilgrim of the Infinite\nZoe Yi-Cheng Lin \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. \nClarinet: Esther Lamneck \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\nMichael Edwards is a composer\, improvisor\, software developer\, and since 2017 Professor of Electronic Composition at ICEM\, Folkwang University of the Arts\, Essen\, Germany.\nHe is the programmer of the slippery chicken algorithmic composition package. His 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. He also improvises on laptop\, saxophones\, and MIDI wind controller\, performing for instance at the 2008 Montreaux Jazz Festival.\nMichael Edwards studied composition at Bristol University with Adrian Beaumont (BA\, MMus) and privately with Gwyn Pritchard. In 1991 he 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 he also worked at IRCAM\, Paris\, with a residence grant at Cité des Arts.\nDuring 1996-7 he was a consultant software engineer in Silicon Valley. He developed a Document Recognition System used in several US hospitals. In 1997 he was appointed Lecturer in Music Theory at Stanford but later that year moved to Salzburg\, Austria. He was Guest Professor at the Universität Mozarteum until he left to teach at the University of Edinburgh in 2002. \nAlto Saxophone: Henrique Portovedo \n  \nDeniz Caglarcan: Itera\nItera is an audiovisual work that explores the evolving relationship between gesture and texture through iterative transformation. Built upon AI-generated visuals and parametric fractal structures\, the piece constructs a dynamic world where sound and image continuously reshape one another. Drawing its name from iteration\, Iterareveals a process in which each repetition diverges—transforming and unfolding into new visual and sonic forms. A formal dichotomy underlies the visual composition\, where parametricism and AI-driven aesthetics contrast continuity with abrupt disruption. The result is a constantly shifting mechanism that invites the viewer into the liminal spaces between each transformation.   \nAbout the artist\nDeniz Çağlarcan is an Istanbul-born\, Santa Barbara–based composer\, violist\, and conductor working across sound\, image\, and technology. He combines acousticinstruments\, electronics\, and interactive visuals to build immersive spatial-audio environments with interdisciplinary teams. His work spans concert music\, electroacoustic/audiovisual pieces\, installations\, and film/game scores. He holds the following degrees\, MM in Viola (CMU)\, MA in Composition (Bilkent)\, MS in Media Arts and Technology and\, PhD in Composition at UC Santa Barbara.  \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 artists\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. \nPercussion: Thierry Miroglio \nSince several years Thierry Miroglio is realizing a brilliant solo career where he is invited to give in more than forty countries recitals and solo concerts in numerous venues and prestigious Festivals such as Salzburg\, Philharmonie Berlin\, New York\, Wien Konzerthaus\, Boston\, Besançon\, San Francisco\, Munich\, Schleswig Holstein\, Madrid\, Rom\, Tokyo\, Milan\, Zagreb\, Nice\, Köln\, Paris\, Hamburg\, Athen\, Sao Paulo\, Lisbon\, Monte Carlo Printemps des Arts\, Hong Kong\, Buenos Aires Colon Theater\, Genève\, Brugge Concertgebouw\, Bucarest Atheneum\, Peking\, Amsterdam\, Linz Brucknerhaus\, Rio\, Darmstadt\, Helsinki\, Johannesburg\, Mexico\, Seoul\, Shanghai\, Moscow\, Biennal of Venice … \n  \nSunhuimei 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. \n  \nZhixin Xu and Yunze Mu: La Nuit Bleue\nLa nuit bleue is a piece written for solo harpsichord and live electronics. After three years of harpsichord study\, I had a strong thought in my mind that write a piece for harpsichord and live electronics. After the spectral analysis of the harpsichord sound as well as look through some pieces like Saariaho’s Jardin Secret II and Cage’s HPSCHD\, I realized that live spectral processing of this kind of idiophonic sound would be a big challenge because of the broad frequency distribution in spectrum. So\, I decided to use both fixed sounds and live processed sounds in the electronic part. Jardin Secret II and HPSCHD inspired me a lot while looking for sounds for electronics. Both of them contain noisy and glitchy sound in the tape part which are homogenies to harpsichord sound in some aspect\, although somehow radical for the time they were composed\, they worked well for harpsichord sound. With this idea\, I set the tone of the timbral character for this piece. \nAbout the artists\nZhixin Xu is a composer\, sound artist and computer music researcher based in Shanghai\, China. His compositions often involving electronics\, sometimes generated by the software he develops. Much of his recent music has been focused on exploring how purely computer-generated sound materials can be used along with musical instruments and purely acoustic sounds. His music and multimedia works have been heard in the U.S\, Europe and Asia on many events including ICMC and SEAMUS conferences.\nXu holds a Doctor of Musical Arts degree from the University of Cincinnati’s College-Conservatory of Music where he studied with Mara Helmuth\, and earlier degrees from CCM and the Shanghai Conservatory of Music. He is now assistant professor at Shanghai Jiao Tong University. His compositions are available on the ABLAZE label. \nYunze Mu \n  \n\nZoe Yi-Cheng Lin: Dream Voyager: A Pilgrim of the Infinite\nDream Voyager: A Pilgrim of the Infinite is an immersive musical work accompanied by a visual component that serves as a poetic guide rather than a narrative driver. The performance begins with a flutist and an actor on stage\, situated in waking reality. As the music unfolds\, the visual imagery gradually transitions into the realm of dreams\, leading the audience into an inner journey of consciousness. The work portrays a journey of the soul through a lucid dream—a state in which consciousness remains fully awake within the dream\, perceiving reality with radiant clarity\, even to the point of leaving the body. The music begins at the threshold of sleep\, gradually descending into deeper layers of awareness beneath a starlit sky. The soul then rises swiftly beyond the firmament\, gazing down upon the dreamlike Earth\, awed by its vivid presence and driven by a longing to understand its essence. A distant bell resounds\, symbolizing ancient wisdom dwelling within the heart and calling the voyager toward cosmic truth. Guided by textures of light and ice\, the pilgrim descends to touch the mud and stone of forgotten lands\, entering memories of an ancient civilization—serene yet mysterious. It soon reveals itself beneath the ocean’s depths\, magnificent but ephemeral\, its rise and fall exposed as a dream of the cosmic mind. As time and space dissolve\, the pilgrim senses the universal breath—the cosmic inhale and exhale uniting all beings in a single living rhythm. When the celestial bell sounds again\, layers of golden light\, like lotus petals\, guide the soul back to waking reality. What returns is not merely memory\, but awakened insight—an expanded vision that perceives the world through a cosmic lens. As the dream dissolves\, the figures on stage awaken and take their final bow. The work thus gestures toward a “dream within a dream\,” resonating with Buddhist perspectives in which the boundaries between reality and illusion are ultimately indistinguishable. In the context of contemporary technological society\, this question becomes ever more urgent: what is real\, and what is virtual or dreamlike? The distinction grows increasingly ambiguous. Employing Ambisonic spatial techniques\, the electronics articulate vertical and immersive motion: sound ascends\, drifts\, expands\, and finally resurfaces\, mirroring the soul’s movement through space and awareness. While the work may evoke a cinematic sense of narrative\, it is entirely independent of visual imagery. All spatial perception\, emotional meaning\, and narrative continuity arise solely through sound\, demanding a high degree of sonic precision and expressive depth\, allowing the music itself to become a complete sensory and contemplative journey. Furthermore\, the dancer and background imagery in the dream sequences are driven by Music Information Retrieval (MIR) features extracted from the music in real time. Implemented in TouchDesigner\, the visual system functions as a responsive virtual stage that is generated through the act of listening. Special thanks to the Taiwanese flutist\, Cheng-Yu Wu\, for the flute recording. \nAbout the artist\nZoe (Yi-Cheng) Lin is a composer and software engineer specializing in digital music. Her electronic music has been exhibited in Europe\, Asia\, North and South America\, and Australia\, across 21 countries and 50 major international festivals. She holds a doctorate in composition from the University of Wisconsin-Madison and was the Chief Music Officer at an AI music company\, leading AI music generation R&D. Currently\, she is a full-time composer and adjunct assistant professor at NTNU. Zoe specializes in synesthetic and 3D immersive electronic music. Her work has been/will be showcased worldwide at NYCEMF 2026\, ICMC 2025\, NYCEMF 2025\, JINLAC2025\, SEAMUS 2025\, REF 2024\, Ars Electronica 2024\, IRCAM Forum 2024\, NYCEMF 2024\, ICMC 2024\, and more. Her music is featured on albums from EMPIRICA RECORD\, SiMN 2023\, and MUSLAB 2023. She was selected for the Anthropocene Project 2024 and EMPIRICA RECORD 2024\, championing experimental and electronic music. \n\n  \nVolunteers\nTechnical Director / Main Sound\nSteffen Lohrey\nLeon Sudahl \nSound Assistants\nJakob Seyberth\nTim Christiansen \nStage / Light / Video\nEvelin Lindberg\nDong Zhou\nJames Tsz-Him Cheung \nProduction\nAigerim Seilova\nHuixin Xue\nHaonan Guo\nXinyi Yang\nNiko Yin\nJiwon Seo\nMenghuan Feng \n 
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
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