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DTSTART;TZID=Europe/Amsterdam:20260511T133000
DTEND;TZID=Europe/Amsterdam:20260511T150000
DTSTAMP:20260426T193848
CREATED:20260421T084731Z
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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. \n  \nProgram Overview\nTyche\nSever Tipei \nAIKYAM\nClaudia Robles Angel \nHOTPO\nMichael Edwards \nTessellae\nRodrigo Cadiz \nThe Center of the Universe\nSunhuimei Xia and Sunhuimei Xia \n  \nAbout the pieces & artists\nSever Tipei: Tyche \nTyche for Bb clarinet and fixed media is a composition generated with original software for Computer-assisted (algorithmic) Composition and sound design developed by the composer and his collaborators.\nDivided into four main sections of 2-3-1-2 minutes\, the work utilizes stochastic distributions\, Markov chains\, sieves and Just Intonation as well as detailed control of spectra\, FM transients\, spatialization and reverberation. A basic framework of precise proportions and deterministic procedures are complemented by random details governed by Tyche\, the goddess of fortune\, chance\, providence and fate. \nAbout the artist\nA composer and a pianist\, Sever Tipei was born in Bucharest\, Romania\, and immigrated in the United States in 1972. He holds degrees in composition from the University of Michigan (DMA) and piano performance from Bucharest Conservatory (Diploma). Tipei taught at Chicago Musical College of Roosevelt University and\, between 1978 and 2021\, at the University of Illinois at Urbana-Champaign School of Music. After retirement Tipei continues to teach in the School of Information Sciences where he also directs the “James W. Beauchamp Computer Music Project”. He is also a National Center for Supercomputing Applications Faculty Affiliate. Between 1993 and 2003 Tipei was a Visiting Scientist at Argonne National Laboratory where he worked on the sonification of complex scientific data.\nMost of his compositions were produced with software he designed: MP1 – a computer-assisted composition program first used in 1973\, DIASS – for sound synthesis and M4CAVE – software for the visualization of music in an immersive virtual environment. More recently\, Tipei and his collaborators have developed DISSCO\, software that unifies computer-assisted (algorithmic) composition and (additive) sound synthesis into a seamless process. His compositions have been performed in the US\, Australia\, Brazil\, France\, Germany\, Italy\, Portugal\, Romania\, Spain\, United Kingdom and Taiwan. \n  \nClaudia Robles Angel: AIKYAM \nAIKYAM is a real-time surround sound work for 1 performer and 5 to 6 participants (audience) inspired by Kuramoto’s mathematical model of the spontaneous order or synchronisation system in nature\, e.g. fireflies\, heart rates or humans clapping their hands together. The term AIKYAM is based on the Sanskrit word: ऐक्यम\, and it means unity or harmony. \nAbout the artist\nBorn in Bogotá (Colombia)\, living in Cologne (Germany). Composer\, sound and new media artist\, her work covers different aspects of visual and sound art\, extending from acousmatic and audio-visual compositions to interactive performances/installations using biomedical signals and AI (Artificial Intelligence).\nShe has been Artist-in-residence in several outstanding institutions around the globe. In 2022 was awarded with an honorary mention by the GIGA Hertz award at ZKM Center.\nHer work has been performed and exhibited worldwide e.g. at ZKM\, ISEA; KIBLA Centre Maribor\, CAMP Festival – 55 Venice Biennale Salon Suisse\, ICMC; New York City Electroacoustic Music Festival; NIME; STEIM; Harvestworks Digital Arts Center NYC\, Heroines of Sound Berlin; Audio Art Festival Cracow; MADATAC Madrid; Athens Digital Art Festival ADAF\, CMMAS Morelia; Beast FEaST Birmingham; ICST ZHdK Zurich; RE:SOUND Aalborg; Electric Spring Festival Huddersfield; AI Biennal Essen; at the Centre for International Light Art Unna and more recently at Acht Brücken Festival Cologne and at the Philharmonie Essen. \nwww.claudearobles.de \n  \nMichael Edwards: HOTPO \nHinting at something a little more coarse\, the title HOTPO is in fact a completely innocent reference to the Collatz Conjecture. This mathematical proposition\, also known by other names\, refers to a succession of numbers called the hailstone sequence (or wondrous numbers)\, because their values usually ascend and descend like hailstones in a cloud.\nThough the mathematical proof of the conjecture is complex\, the proposition is very simple: Take any positive whole number; if it is even\, divide it by two; if it is odd\, multiply it by three and add one (hence the acronym Half Or Three Plus One: HOTPO); repeat the process with the result and you will find that no matter which number begins the process\, you will always\, given enough iterations\, reach one.\nThe algorithm is easy to programme and experiment with plus it produces rather nice images when given different starting numbers and plotted over various iterations. I used the algorithm in this piece to generate section lengths and repeated structures from nine basic rhythm sequences\, hence my sequence was 9 28 14 7 22 11 34 17 52 26 13 40 20 10 5 16 8 4 2 1. The piece alternates sections opposing mixed materials (odd section numbers) with obsessively repeated material (even). The numbers are also used for the generation of the sound files triggered during the performance. Despite the rather abstract nature of the generative procedure\, the results of the algorithms were developed intuitively and the piece as a whole arises out of and proceeds through a maelstrom of events fitting to the imagery of a hailstorm.\nHOTPO was commissioned by Henrique Portovedo for the World Saxophone Congress 2018 in Zagreb. That version included an ensemble. In 2020 I reworked the sound files to include MIDI data from the ensemble and made a solo + computer version. This was revised in 2024. \nAbout the artist\nI’m a composer\, improvisor\, software developer\, and since 2017 Professor of Electronic Composition at ICEM\, Folkwang University of the Arts\, Essen\, Germany.\nI’m the programmer of the slippery chicken algorithmic composition package. My compositional interests lie mainly in the development of structures for hybrid electro-instrumental pieces through the integration of algorithmically produced scored materials with similarly generated computer-processed sound. I also improvise on laptop\, saxophones\, and MIDI wind controller\, performing for instance at the 2008 Montreaux Jazz Festival.\nI studied composition at Bristol University with Adrian Beaumont (BA\, MMus) and privately with Gwyn Pritchard. In 1991 I moved to the US for further studies in computer music with John Chowning at CCRMA\, Stanford University (MA\, Doctor of Musical Arts). Whilst studying there I also worked at IRCAM\, Paris\, with a residence grant at Cité des Arts.\nDuring 1996-7 I was a consultant software engineer in Silicon Valley. I developed a Document Recognition System used in several US hospitals. In 1997 I was appointed Lecturer in Music Theory at Stanford but later that year moved to Salzburg\, Austria. I was Guest Professor at the Universität Mozarteum until I left to teach at the University of Edinburgh in 2002. \n  \nRodrigo Cadiz: Tessellae \nTessellae for percussion and live electronics unfolds as a mosaic of small rhythmic tiles laid in time by a single performer. The percussion writing is built on Euclidean rhythmic principles\, patterns that distribute events as evenly as possible\, expanded through asymmetric tuplets (notably groups of three and five)\, repetitions\, and carefully placed silences that create a strong sense of anticipation from phrase to phrase. Only one or two instrumental lines sound at a time\, allowing the listener to perceive each gesture as a discrete tessera within a larger rhythmic surface. The live electronics\, built on RAVE\, a real-time variational autoencoder developed at IRCAM and trained on a corpus of percussion sounds\, listen to the performer and respond by reshaping timbre and resonance in the moment\, extending and refracting the acoustic material without fixing it in advance. The result is a dialogue between strict rhythmic architecture and fluid sonic transformation\, where expectation\, delay\, and renewal are central expressive forces. Tessellae was composed for Thierry Miroglio. \nAbout the artist\nRodrigo F. Cádiz is a composer\, researcher and engineer. He studied composition and electrical engineering at the Pontificia Universidad Católica de Chile (UC) in Santiago and he obtained his Ph.D. in Music Technology from Northwestern University. His compositions\, consisting of approximately 70 works\, have been presented at several venues and festivals around the world. His catalogue considers works for solo instruments\, chamber music\, symphonic and robot orchestras\, visual music\, computers\, and new interfaces for musical expression. He has received several composition prizes and artistic grants both in Chile and the US. He has authored around 70 scientific publications in peer reviewed journals and international conferences. His areas of expertise include sonification\, sound synthesis\, audio digital processing\, computer music\, composition\, new interfaces for musical expression and the musical applications of complex systems. In 2018\, Rodrigo was a composer in residence with the Stanford Laptop orchestra (SLOrk) at the Center for Computer-based Research in Music and Acoustics (CCRMA)\, and a Tinker Visiting Professor at Stanford University. In 2019\, he received the prize of Excellence in Artistic Creation from UC\, given for outstanding achievements in the arts. In 2024\, he was a visiting researcher at the Orpheus Instituut in Belgium. He is currently full professor at the Music Institute and Electrical Engineering Department of UC. \n  \nSunhuimei Xia and Sunhuimei Xia: The Center of the Universe\nThe Center of the Universe\, an algorithmic music work integrated with interactive technology\, draws inspiration from the artist’s immersive impressions of New York City gleaned through multiple on-site visits. Standing atop the Empire State Building\, the artist perceived the metropolis as a dynamic global nexus where people of diverse cultural and ethnic backgrounds converge\, weaving a vibrant\, multifaceted urban tapestry that resonates with the energy of an interconnected world. Taking the phrase “The Center of the Universe” as its foundational sonic material\, the work delivers innovation through experimental multilingual vocal manipulation—deploying the core line in English\, Spanish\, French\, German\, Italian\, Russian\, Chinese\, Japanese\, Korean\, and Thai—with all vocal textures sourced from sampled macOS AI voices\, blending computational sound synthesis with linguistic diversity to push the conventional boundaries of vocal-based algorithmic composition. It achieves nuanced translation by converting the artist’s subjective perceptual experience of the city into an audible\, interactive sonic landscape\, while translating the abstract idea of cross-cultural convergence into tangible musical logic via the layered interplay of multilingual vocal samples. Further embodying participation\, the piece adopts wireless Nintendo Wiimote Controllers as its interactive performance interface\, enabling the performer to stand at the “center” of the stage and manipulate the musical structure in real time; this design redefines the dynamic between creator\, performer\, and audience\, turning the performance into a collaborative process where physical movements directly shape sonic evolution. \nAbout the artist\nSunhuimei Xia\, Associate Professor of Art and Technology at Wuhan Conservatory of Music’s Composition Department\, Dr. Xia holds a Master’s from Johns Hopkins University and a Doctorate from the University of Oregon (U.S.). Mentored by renowned composers Jian Feng\, Jian Liu\, Geoffrey Wright\, and Jeffrey Stolet.\nAs central and western China’s first DMA in data-driven musical instrument composition and performance\, this accomplished composer focuses on computer music creation and music-technology integration\, with core interests in interactive data-driven instruments\, algorithmic composition\, and data sonification.\nHonored as a Music Entrepreneurship and Innovation Talent by the Ministry of Culture and an Outstanding Young and Middle-Aged Literary and Art Talent by Hubei Federation of Literary and Art Circles\, her works won the Hubei Golden Bianzhong Music Award\, with over 10 pieces showcased at top global events including ICMC\, ISMIR\, NIME\, SMC\, SEAMUS\, NYCEMF\, EMM\, IRCAM\, WOCMAT and Musicacoustica-Beijing.\nShe released China’s first DVD album of data-driven instrument works\, published by Shanghai Music Publishing House and Shanghai Literature & Art Audio-Video Electronic Publishing House. She guided students to secure 20+ domestic and international awards\, leads provincial projects and participates in the Ministry of Education’s Humanities and Social Sciences Youth Fund Project\, driving music-technology innovation.
URL:http://icmc2026.ligeti-zentrum.de/event/concert-1a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:11-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260512T133000
DTEND;TZID=Europe/Amsterdam:20260512T150000
DTSTAMP:20260426T193848
CREATED:20260421T165721Z
LAST-MODIFIED:20260422T112139Z
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. \n  \nProgram Overview\nSprinkle\nHuixin Xue \nLate Shift \nBenjamin Broening \nFall and Rise\nWan Heo\, Wan Heo and Wan Heo \nSqueakeasy \nJonathan Wilson \nI dreamed of Naïma \nChristopher Dobrian \nFree-Wheelerish (a movement from the suite Things Ain’t What They Used To Be)\nMark Whitlam \n  \nAbout the pieces & composers\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\nComposer: Huixin Xue\nPipa Performer: Yinghan Liu\nComputer Music Designer: Shihong Ren \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. \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 artist\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. \n  \nWan Heo\, Wan Heo and Wan 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 artist\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. \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 artist\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. \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 artist\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. \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 artist\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. \n\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:20260513T133000
DTEND;TZID=Europe/Amsterdam:20260513T153000
DTSTAMP:20260426T193848
CREATED:20260421T161440Z
LAST-MODIFIED:20260422T115641Z
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. \n  \nProgram Overview\nElevator Pitch\nJuan Vassallo \nChant\nYoonjae Choi \nMulholland Revisited \nHeloise Garry \n“Empathic Machines” for One Pianist’s Mind and Disklavier™\nMasatsune Yoshio \nVoici que la saison décline\nMikako Mizuno \nExplode to Survive \nRichard Scott \n  \nAbout the pieces & artists\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 artist\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. \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 artist\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. \n  \nHeloise Garry: Mulholland Revisited\nMulholland Revisited is an interactive composition for Yamaha Disklavier / MIDI\nkeyboard and ChucK\, integrating real-time interaction between acoustic and\nelectronic elements. By leveraging MIDI input\, the piece enables the piano to\nfunction as both a performer and a controller\, triggering ChucK-generated sound\ntextures in response to live performance. \nInspired by a pivotal phone conversation in Mulholland Drive (Lynch\, 2001)\, the\nwork explores the blurred boundary between dream and reality through a dynamic\ninterplay between piano-generated material and algorithmic sound synthesis. The\nelectronic elements emerge as an extension of the piano’s acoustic voice\,\nreinforcing the psychological tension that defines the narrative arc. An homage to\nDavid Lynch\, the piece mirrors his fascination with fractured identities and surreal\natmospheres\, immersing the listener in a sonic landscape that expands the piano’s\ntraditional 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  \nMasatsune Yoshio: Empathic Machines\nWhat lies beyond the pianist’s technical skill — music in which body and mind are fully integrated?\nIn this work\, a pianist’s brainwaves are sensed using the EMOTIV Insight device\, and the data is processed in Max 9 to generate performance information that is transmitted and played by a Disklavier™ piano.\nThrough this body-extended expression\, the resulting piano music — beyond human hand alone — becomes a speculative answer to the question posed above. \nAbout the artist\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. \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 artist\nComposer/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. \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:20260514T133000
DTEND;TZID=Europe/Amsterdam:20260514T150000
DTSTAMP:20260426T193848
CREATED:20260421T162627Z
LAST-MODIFIED:20260423T122046Z
UID:10000093-1778765400-1778770800@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 4A
DESCRIPTION:Concert 4A marks a special moment of collaboration between Hamburg’s local music scene and international composers. A particular highlight are two world premieres written especially for the renowned Hamburg-based double bassist John Eckhardt. Known for his explorations at the boundaries between new music and sound art\, Eckhardt here pushes the sonic extremes of his instrument in dialogue with the computer.\nAlongside the focus on the double bass\, the audience can expect a journey ranging from “electroacoustic romanticism” to AI-driven violin improvisations. \n  \nProgram Overview\nULYSSES II\nRoberto Cipollina and Eleonora Podestà \nThe Week\nHenrik von Coler \nEmpress Luo\nYao Hsiao \nconfim\, assim\, sem fim\nRodrigo Pascale \nThe Water lily in the blaze\nNatsuki Kambe \nLa Nuit Bleue\nZhixin Xu and Yunze Mu \n  \nAbout the pieces & artists\nRoberto Cipollina & Eleonora Podestà: ULYSSES II\nUlysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction\, emphasizing the role of AI not as a passive tool\, but as an active and adaptive musical agent within the creative process.\nThe work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics\, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.\nAt the core of Ulysses 2 is the integration of Somax2\, a real-time generative system developed within the Max environment\, which enables responsive electronic behavior through the analysis and transformation of live performance data.\nWhile the project fully embraces aleatory elements and the concept of extemporaneity\, it also adheres to an organized formal structure that guides its overall development. In fact\, the performer engages with a series of prompts provided by the composer\, ensuring a coherent trajectory.\nThe electronic component\, built from a database of sampled sounds recorded by Eleonora Sofia Podestà\, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing\, the system generates musically congruent textures and transformations.\nThis piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers\, fostering a dynamic and co-creative dialogue between human performer and machine intelligence. \nAbout the artists\nRoberto Maria Cipollina is a composer and researcher in immersive technologies applied to music\, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018)\, Alchimie (2020)\, Lu Re d’Amuri (2022)\, and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music\, artificial intelligence\, and virtual reality\, his works are internationally performed and published by Da Vinci Records. \nEleonora Podestà \n  \nHenrik von Coler: The Week\nOne Week is an acousmatic composition that integrates a staged reading in live performance. Drawing on an introspective autobiographical text\, it reflects on emotional states and personal experiences during periods of transition and uncertainty. The work may be understood as a form of Electroacoustic Romanticism: in line with the 2026 ICMC theme\, One Week translates romantic ideas into the language of electroacoustic music. In doing so\, it explores a balance between technological investigation and personal expressivity. At the same time\, the piece seeks to reach a broader range of listeners by foregrounding emotional engagement and incorporating a contemporary text that resonates with present-day cultural contexts. \nThe tape part of One Week is constructed from autobiographical field recordings combined with analog signal processing and experimental sound synthesis. In addition to conventional contemporary techniques\, the production draws on echo chambers\, analog and digital tape machines\, and vintage synthesizers and effects units. This process produces dense\, noisy\, and organic timbres and textures while consciously engaging with recognizable tropes of acousmatic music. During performance\, the tape part is live-diffused by the composer. Delivered in Ambisonics (up to seventh order)\, the work can be realized on a wide range of spatial sound systems\, in both 2D and 3D configurations. \nThe staged reading is performed by a musician and multimedia artist zl!ster\, who collaborated closely with the composer to refine the original text for performance. Through this revision\, the text is reshaped for the present moment while remaining anchored in the work’s autobiographical framework. \nAbout the artist\nPerformer: zl!ster is a Panamanian-American artist based out of Atlanta\, Georgia. His music embodies self-exploration through misinterpretations and exaggerations of real life. At times\, his work is a direct reflection of self; at others\, it is distorted\, shaped more by perception than reality. Rooted in curiosity and at times bravado\, his music lives in the realms of alternative rap and indie rock. \nComposer: Henrik von Coler is a musician and researcher\, working at the intersection of art\, science and technology. In 2024 he founded the Lab for Interaction and Immersion (L42i) at Georgia Tech’s School of Music. Before that he was the director of the Electronic Music Studio at TU Berlin and head of the Computer Music Team at the Audio Communication Group. In his research and creative work\, Henrik has explored various aspects of electronic music and musical instruments. This includes interface design\, algorithms for sound generation and experimental concepts for composition and performance. Most of his projects treat space as an integral part of music. In 2017 he founded the Electronic Orchestra Charlottenburg – an ensemble of up to 12 electronic musicians – to explore music interaction on immersive loudspeaker systems. He has since worked on ways to enhance how musicians and audiences experience spatial music and sound art. \n  \nYao Hsiao: Empress Luo\nxxx \nAbout the artist\nxxx \n  \nRodrigo Pascale: confim\, assim\, sem fim\n“confim\, assim\, sem fim” was composed in 2024 during the Laboratorio de Composición Mixta of Resonancias Iberoamericanas. It is dedicated to the Festival Expresiones Contemporáneas and to Francisco. This composition explores the concept of infinity within limited systems.\nThe pre-compositional research involved extensive explorations of harmonies based on mathematical ratios. I established a structure featuring 15 harmonies\, beginning with two frequencies at a ratio of 16/15. Each subsequent harmony added a new frequency derived from the initial ratio\, multiplied by a series of ratios following the sequence [16/15\, 15/14\, 14/13\, 13/12\, 12/11\, 11/10\, 10/9\, 9/8\, 8/7\, 7/6\, 6/5\, 5/4\, 4/3\, 3/2\, 2/1]. Notably\, some harmonies—including the second—utilized this sequence in reverse. For instance\, the ratio [15/14] was employed as the foundation for the first two frequencies\, while the third harmony emerged from multiplying [15/14] by [16/15]\, yielding [8/7].\nThe forward sequence often led to more dissonant harmonies\, while the backward sequence inclined towards consonance\, and I frequently juxtaposed the two. An exception occurred between harmonies 13 and 14\, where both utilized forward sequences to create heightened tension\, concluding in a consonant 15th harmony. The sequence employs a set of regressive numbers\, each divided by its preceding integer. This approach allows for the potential to extend beyond 2/1 to 1/0\, thus engaging with a well-known mathematical problem. As the results of division increase when the denominator decreases\, division by zero is said to “tend to infinity.”\nIn this exploration\, I realized that the logical conclusion of the composition was to approach infinity musically. However\, I confronted the challenge that the double bass can only produce a finite range of sounds\, and that the human hearing spans approximately from 20 Hz to 20 kHz. Faced with this problem\, I sought solutions that transcended the confines of the system itself. This led me to investigate how the limitations of our auditory perception could be brought to the forefront\, creating illusions of seemingly ever-rising glissandi and of rhythm turning to pitch. The transformation of percussive sounds into frequencies and the use of Shepard tones played a crucial role in this composition.\nconfim\, assim\, sem fim delves into the boundaries of auditory perception\, aiming to investigate the concept of infinity within limited systems. This composition begins with a sequence of harmonies\, where subtle facets of infinty aer explored through the techniques of the double bass. In its culminating section\, the work unveils the full potential of this exploration by incorporating exceptionally high frequencies and an enduring reverberation\, creating an immersive sonic landscape that invites listeners to experience the infinity within these media. \nAbout the artist\nRodrigo Pascale (b. 1996) is an internationally awarded Brazilian composer whose works have been performed worldwide by leading ensembles including JACK Quartet\, ICE\, MCME\, Splinter Reeds\, loadbang\, Hypercube\, Hinge\, and Sound Icon. A Prix CIME 2025 recipient and Gaudeamus Award 2026 Finalist\, he is pursuing a DMA at Peabody and has studied with Haas\, Kampela\, Fineberg\, Wubbels\, and Hersch. \n  \nNatsuki Kambe: The Water lily in the blaze \nI attempted to compose a piece that makes use of the wide range and rich timbral possibilities of the contrabass. In addition to the instrument’s inherent variety of tone colors\, I further explored new sounds through live electronics.\nThe low register conveys a powerful\, flame-like energy. The high register\, produced through flageolet harmonics\, has a beautiful tone with a delicate charm reminiscent of water lilies. These two contrasting elements are brought together into a single image: a burning sunset reflected on a pond\, and water lilies blooming in its shadow.\nIn Max\, I used TR.lib by Professor Takayuki Rai. Throughout the piece\, grbFM is used extensively: in the low register it generates noise such as quarter tones\, while in the high register it creates chordal textures inspired by the Japanese traditional wind instrument shō.\nI would like to express my heartfelt gratitude to Professor Takayuki Rai for the many valuable suggestions he provided during the creation of this work. \nAbout the artist\nNatsuki Kambe was born in 2004 in Yokohama\, Japan. They began studying piano at the age of five and started composition studies with Kazuo Mise at the age of fifteen. In 2020\, she graduated from the Music Department of Toho Girls’ High School.\nIn the same year\, they entered Toho Gakuen College of Music as a composition major and are currently a third-year student (as of January 2026). Since April 2024\, she has been studying computer music under Takayuki Rai. \n  \nZhixin Xu and Yunze Mu: La Nuit Bleue\nLa nuit bleue is a piece written for solo harpsichord and live electronics. After three years of harpsichord study\, I had a strong thought in my mind that write a piece for harpsichord and live electronics. After the spectral analysis of the harpsichord sound as well as look through some pieces like Saariaho’s Jardin Secret II and Cage’s HPSCHD\, I realized that live spectral processing of this kind of idiophonic sound would be a big challenge because of the broad frequency distribution in spectrum. So\, I decided to use both fixed sounds and live processed sounds in the electronic part. Jardin Secret II and HPSCHD inspired me a lot while looking for sounds for electronics. Both of them contain noisy and glitchy sound in the tape part which are homogenies to harpsichord sound in some aspect\, although somehow radical for the time they were composed\, they worked well for harpsichord sound. With this idea\, I set the tone of the timbral character for this piece. \nAbout the artist\nZhixin Xu is a composer\, sound artist and computer music researcher based in Shanghai\, China. His compositions often involving electronics\, sometimes generated by the software he develops. Much of his recent music has been focused on exploring how purely computer-generated sound materials can be used along with musical instruments and purely acoustic sounds. His music and multimedia works have been heard in the U.S\, Europe and Asia on many events including ICMC and SEAMUS conferences.\nXu holds a Doctor of Musical Arts degree from the University of Cincinnati’s College-Conservatory of Music where he studied with Mara Helmuth\, and earlier degrees from CCM and the Shanghai Conservatory of Music. He is now assistant professor at Shanghai Jiao Tong University. His compositions are available on the ABLAZE label. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-4a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Amsterdam:20260516T133000
DTEND;TZID=Europe/Amsterdam:20260516T150000
DTSTAMP:20260426T193848
CREATED:20260421T163825Z
LAST-MODIFIED:20260423T183003Z
UID:10000105-1778938200-1778943600@icmc2026.ligeti-zentrum.de
SUMMARY:Lunch Concert 6A
DESCRIPTION:Concert 6A forms a bridge between the distant past and a radically digital future. It is a search for the edges of the audible—whether in the almost imperceptible silence of a saxophone\, in the raw 1-bit synthesis of early computer music pioneers\, or in the lament of the Gorgons on a reconstructed ancient instrument. \n  \nProgram Overview\nApparizione del Silenzio \nYisong Piao \ntibone\nKerry Hagan \nA Hatful of Feathers \nMarc Ainger \nchime\nTiffany Skidmore and Patti Cudd \nCyanotypes\nPatti Cudd \nGorgons’ Cry\nKonstantinos Karathanasis \n  \nAbout the pieces & artists\nYisong Piao: Apparizione del Silenzio  \nApparizione Del Silenzio does not contain “silence” itself—at least\, not in the conventional sense of an absence of sound. Instead\, it is built upon sounds that lie at or beyond the threshold of human perception: vibrations outside the usual spectrum\, the friction between air and metal\, the dissipation of sound waves in space—those margins of sound that are ignored\, inaudible\, yet undeniably existent. The apparition of silence is therefore neither stillness nor emptiness\, but the manifestation of a presence perceived as silence. It is a non- sonic sound: at the limit of hearing\, silence ceases to signify absence and becomes another mode of existence.\nThe piece is written for tenor saxophone and electronics\, combining fixed media with live processing of hyper-amplified micro-sounds from the instrument. Semi-improvised passages invite the performer to enter the interstice between sound and silence\, where breath\, touch\, and hesitation become part of an almost inaudible voice.\nThe generative logic of the work is not the appearance of silence\, but its presentation: silence here is not what is conventionally called “silence\,” but a subject that reveals itself through its auditory traces. \nAbout the artist\nYisong Piao (b. 1992\, China) is a Seoul-based composer specializing in electroacoustic and instrumental music. His works have been presented at ICMC 2023 (China)\, ICMC 2024 (Korea)\, and ICMC 2025 (Boston). He is a researcher at the Center for Research in Electro-Acoustic Music and Audio (CREAMA)\, focusing on microtonality and algorithmic approaches in composition. \n  \nMiller Puckette and Kerry Hagan: tibone \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 artist\nMarc Ainger (USA) has developed an idiosyncratic body of work that embraces a wide range of music/sound and music/sound-making. He is interested in the relationships between the real and the imagined – the ways in which the visceral world of sound and sound production inform our imagined worlds of sound\, and the ways our imagined worlds\, in turn\, inform our concrete experiences.\nPerformances of Ainger’s works have included the New York Philharmonic Biennial; the INA/GRM; the Royal Danish Ballet; CBGB; Late Night with David Letterman; the Goethe Institute; the American Film Institute; SIGGRAPH; the Palais de Tokyo (Paris); FolkwangWoche NeueMusik(Essen); Gaggego!(Gothenburg); the Joyce Theater (New York); Guangdong Modern Dance; and New Circus artists. Awards include the Boulez/LA Philharmonic Composition Fellowship\, the Irino International Chamber Music Competition\, Musica Nova Prague\, Meet the Composer\, and the Esperia Foundation. \n  \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  \nPatti Cudd and Marc Ainger: Cyanotypes \nCyanotypes\, with their characteristic white imprints on a deep blue field\, transcend mere photographic representation; they serve as blueprints that reveal the essence of objects through their negative form. This transformative process redefines the concept of the “object\,” not as a fixed entity\, but as an echo\, a trace\, or an imprint of presence. In this conceptual framework\, cyanotypes become a metaphor for the translation of physical and temporal phenomena into abstracted impressions. Inspired by this principle\, Cyanotype’s Five Studies approaches the vibraphone not through its direct sound or physicality\, but as a series of rhythmic imprints — sonic blueprints that capture the vibraphone’s articulate and resonant characteristics. \nThe vibraphone is renowned for its shimmering sustain\, dynamic control\, and ability to produce both melodic and percussive textures. In Cyanotype’s Five Studies\, these qualities are refracted through the instrumental language itself\, emphasising the vibraphone’s unique ability to articulate rhythmic patterns with clarity and tonal nuance. This work creates a rich sonic landscape for exploring how vibraphone rhythms can be abstracted\, deconstructed\, and re-imagined as imprints within sound. \nEach study acts as a sonic cyanotype\, distilling the essential rhythmic and timbral gestures of the vibraphone into textures that evoke the original instrument’s expressive potential without relying on straightforward replication. The vibraphone’s capacity for sustained tones and nuanced dynamic shading allows for a complex rendering of rhythmic articulation\, translating percussive strikes into lingering tonal shapes. The five studies function collectively as a blueprint series—each revealing different facets of the vibraphone’s character through a process of mediation\, exploring articulation\, rhythmic complexity\, timbral contrast\, and dynamic variation. \nBy conceptualising the work as an imprint rather than a direct transcription\, the piece invites listeners to reconsider the relationship between source and representation. It challenges traditional notions of musical interpretation by emphasising the transformative potential of the vibraphone to embody and reinterpret its own characteristic sound patterns. The blue-white dichotomy of the cyanotype process parallels the interplay between presence and absence in sound—notes articulated and decayed\, rhythm asserted and refracted\, the physical gesture and its sonic echo. \nUltimately\, Cyanotype’s Five Studies proposes a dialogue between visual and auditory art forms\, grounded in the shared concept of imprinting. Just as the cyanotype renders the visible object in reverse contrast\, this work explores how musical objects—rhythms and timbres—can be refracted through mediation to reveal new expressive dimensions. The vibraphone becomes both subject and medium\, transforming its distinctive voice into a series of articulate\, resonant imprints\, inviting a deeper engagement with the ephemeral nature of sound and the processes of artistic representation. \nAbout the artists\nPatti Cudd is an American percussionist\, educator\, and new-music advocate. A member of Zeitgeist and a professor at the University of Wisconsin–River Falls\, she specializes in contemporary percussion\, electroacoustic music\, and commissioning new works. Cudd has performed internationally\, recorded widely\, and collaborated with leading composers to expand the modern percussion repertoire. \nElainie Lillios is an American composer whose music explores sound\, space\, and the physical experience of listening. Her works often blend acoustic instruments with electronics\, field recordings\, and subtle timbral shifts. Lillios’s music has been performed internationally and is known for its immersive\, textural quality and imaginative use of resonance and sonic detail. \nMarc Ainger (sound design): Marc 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\nThis programmatic composition is inspired by the 12th Pythian Ode\, written by Ancient Greek poet\, Pindar\, in honor of a formidable Aulos player. When Perseus\, aided by goddess Athena\, beheaded sleeping Medusa\, the only mortal of the three sister Gorgons\, the two immortal Gorgon sisters\, Stheno and Euryali woke up\, realized the crime and chased the culprit with terrible cries and laments. Athena listened to the Gorgons’ cries and created Aulos\, a double pipe-double reed wind instrument to imitate them.\nIn contrast to the ancient poet\, and profoundly stirred by ongoing contemporary reports of femicides\, the composer interprets this myth from a feminist perspective. Medusa is portrayed as a tragic victim of patriarchy\, and the Gorgons cry out in extreme anger\, mourning the lost beauty of their sister.\nIn modern days\, Archeomusicologists study fragments\, or entire pieces of excavated Auloi from various sites and eras to recreate exact replicas to learn more about the sounds and performing techniques of this long-lost instrument. This piece is based on a Pydna aulos\, an instrument entombed in Macedonia\, Greece at about the 2nd half of the 4th century BCE. Melodic materials derive from the archaic Spondeion scale that was used to accompany certain religious processions.\nThe computer alters the aulos sound in real-time based entirely on custom combinations of variable delay and FFT algorithms\, without using any prerecorded materials. Gorgons’ Cry is the first composition in the modern repertory involving aulos and live electronics. \nAbout the artists\nKonstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry\, artistic cinema\, abstract painting\, mysticism\, Greek mythology\, and the writings of Carl Jung. His compositions have been performed at numerous festivals and received awards in international competitions\, including Musica Nova\, SIME\, SEAMUS/ASCAP\, Música Viva and Bourges. Recordings of his music are released by SEAMUS\, ICMA\, Musica Nova\, Innova\, Equilibrium and HELMCA. Ravello Records released in March 2026 his solo album Resonant Mythologies with the support of the University of Oklahoma. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo. He serves as Professor of Composition & Music Technology at the University of Oklahoma. More info at: http://karathanasis.org \nCALLUM ARMSTRONG is an award winning multi-instrumentalist specialized in Early Music. For over a decade\, Callum has devoted a great deal of his time to the revival of ancient Greek and Roman auloi. He has a YouTube channel\, the ”The Aulos Collective” which is dedicated to how auloi were made\, played\, and used\, in collaboration with the luthier Max Brumberg. Callum regularly performs internationally as a soloist\, in various ensembles\, and works as a composer\, teacher and session musician for film and computer games. Recently Callum was the subject of the documentary ‘Callum Armstrong the Aulete’ which won 1st price from the Ierapetra international film festival. \n 
URL:http://icmc2026.ligeti-zentrum.de/event/lunch-concert-6a/
LOCATION:Hamburg University of Technology\, Building I\, Audimax 2\, Denickestraße 22\, Hamburg\, 21073\, Germany
CATEGORIES:16-05,Concert,Music
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
END:VEVENT
END:VCALENDAR