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X-WR-CALDESC:Events for ICMC HAMBURG 2026
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DTSTART;TZID=Europe/Amsterdam:20260513T160000
DTEND;TZID=Europe/Amsterdam:20260513T180000
DTSTAMP:20260423T065039
CREATED:20260421T130933Z
LAST-MODIFIED:20260421T131159Z
UID:10000171-1778688000-1778695200@icmc2026.ligeti-zentrum.de
SUMMARY:Special Panel: Clarence Barlow
DESCRIPTION:Panelists\n\nFabian Czolbe\nBernd Härpfer\nJohn Chowning\nAnne Wellmer\n\nModerator: Georg Hajdu \n  \nFabian Czolbe\, Bernd Härpfer and Julian Rohrhuber  \nAmplifying Participation. The digital Barlow Archive (dBA) as an Approach to the Recording of a Digital Computer Music Legacy \nThe archiving of computer music presents specific challenges that arise from the process-oriented\, software-based\, and technologically contingent nature of digital compositional practices. Digital artifacts such as source code\, algorithmically generated data\, and custom compositional tools encode not only musical outcomes but also procedural knowledge that is often implicit and difficult to formalize. This paper presents the Digital Barlow Archive (dBA)\, which may be taken as a case study for addressing these challenges through a translational and participatory approach to archiving computer music.\nThe born-digital legacy of Clarence Barlow (1945–2023) is open-ended and comprises heterogeneous materials. For doing justice to this openness and diversity\, the dBA adheres to existing archival standards while extending them to account for computer-music-specific objects and workflows. Thereby\, an object/event framework is employed to translate non-linear and iterative compositional processes into structured metadata representations that remain interoperable with institutional and international archival infrastructures. At the same time\, the framework acknowledges the limits of formalization and preserves interpretative openness.\nExtending the old idea of computing as an amplification of the intellect\, this paper argues that such archival methods do not only passively conserve material\, but need to translate and amplify the possibility of participation: they actively shape access\, interpretation\, and creative reuse of digital musical materials. Archiving should be conducted as an epistemic practice that mediates between technological history\, compositional knowledge\, and the contemporary computer music community.  \n  \n\nBernd Härpfer  \nFrom pioneer to role model – a tribute to Clarence Barlow’s legacy to computer music and the ICMC \nFor over five decades\, Clarence Barlow (1945-2023) has made significant contributions to contemporary music and\, in particular\, to computer music. He is recognised worldwide as a composer\, interdisciplinary researcher\, author\, software developer and professor. Another defining characteristic was his talent for bringing people together\, networking the scene and demonstrating great organisational stamina. A key milestone in this regard was the organisation and hosting of the 14th ICMC – the first time the event was held in Germany – in Cologne in 1988.  \n   \nAnne Wellmer  \nTBA  \n   \nRaphael Radna  \nTombeau de Barleau: An Interactive Ludic–Algorithmic Composition in Honor of Clarence Barlow \nTombeau de Barleau is an interactive\, generative\, and audiovisual composition dedicated to the pioneering computer-music composer Clarence Barlow (1945–2023)\, a teacher of the author. In this work\, two performers play a Pong-style video game in which collisions between the ball and a portrait of Barlow play a MIDI-controlled piano. The performers affect this process only indirectly\, as the gameplay itself governs musical parameters including harmony\, density\, rhythm\, dynamics\, and tempo. As a result\, the work balances novelty and determinism: while its musical surface varies across performances\, its underlying algorithmic structure provides a stable form. \nTombeau de Barleau adopts several elements of Barlow’s compositional style\, including rigorously formalized algorithmic processes\, unconventional uses of piano automata\, translations between visual and musical domains\, and playful or outlandish premises. It also applies some of his theoretical contributions\, namely his methods for quantifying the consonance of harmonic intervals (harmonicity) and priority of metrical pulses (indispensability). This paper describes the design and implementation of Tombeau de Barleau and reflects on its function as an homage to one of algorithmic music’s most inventive and influential figures.  \n  \nJohn Chowning  \nTBA  \n   \n  
URL:https://icmc2026.ligeti-zentrum.de/event/special-panel-clarence-barlow/
LOCATION:Hamburg University of Technology\, Building H\, Ditze Hörsaal (0.016)\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:13-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260514T170000
DTEND;TZID=Europe/Amsterdam:20260514T183000
DTSTAMP:20260423T065039
CREATED:20260421T133619Z
LAST-MODIFIED:20260421T133619Z
UID:10000095-1778778000-1778783400@icmc2026.ligeti-zentrum.de
SUMMARY:Panel: Music\, Technology and the Mind
DESCRIPTION:Lars Rye Bertelsen: MusicStar\nLars Rye Bertelsen will present on the MusicStar app. as a technology for health. The background\, thoughts and visions for its development will be presented\, along with an overview of its use and distribution worldwide. The app has been in use as a personal coping-strategy both clinically for patients during admittance and after dismissal from hospital\, in refugee rehabilitation and several quality studies ad research projects\, and it is also available for private use. \nAbout the panelist\nLars Rye Bertelsen began his music therapy training at Aalborg University in the program’s first cohort in 1982. He has since worked as a private music therapy clinician since 1987 and later established a private music therapy clinic in 1999 with three colleagues. From 2004 to 2024\, he held a part-time position at the music therapy research clinic at Aalborg University Hospital – Psychiatry\, where he conducted both clinical work and research in music therapy and music medicine. Bertelsen is co-inventor of the MusicStar app and specializes in designing playlists for arousal regulation. He earned his PhD in music therapy at Aalborg University in 2025. Moreover\, he is a certified Bonny Method GIM therapist and a fellow of the European Association for Music and Imagery (EAMI). \nPia Preissler und Goran Lazarevic: The Healing Soundscapes\nWe will be presenting our work and the most recent developments in the Healing Soundscapes project – an interdisciplinary project at the intersection of music therapy\, psychology\, composition\, and technology\, where each of these branches is simultaneously supporting and enhancing the others. The project integrates scientific research\, artistic practice\, and AI-driven tools to create “neutral” sound environments for clinical spaces – blending seemlesly into the existing environement and at the same time enriching it in ways that promote the well-being of persons experiencing it. Moving beyond purely functional audio\, we explore how complex\, artful sound can resonate across individual preferences in a genre-agnostic way\, offering new listening experiences for patients and staff\, and redefining the role of music outside the concert hall. \nAbout the panelists\nDr Pia Preißler is a qualified music therapist\, psycho-oncologist and research fellow at the University Medical Center Hamburg-Eppendorf (UKE)\, and a lecturer at the University of Music and Drama in Hamburg (HfMT). Her work combines clinical practice with research\, as in the ‘Healing Soundscapes’ project\, which she has been leading since 2023 within the context of the ligeti center. Here\, sound installations are implemented in waiting and work areas within the hospital and their effects are studied. \nGoran Lazarevic is a Hamburg-based improviser\, composer\, accordionist and researcher. His main interests lie in the fields of live electronics\, microtonal music\, free improvisation and computer music\, as well as brain-computer-music interfaces (BCMI) and cognitive science. Goran Lazarević works as a project coordinator for the Hamburg Open Online University (HOOU) at the University of Music and Drama in Hamburg (HfMT) and has been a part of the ‘Healing Soundscapes’ project group since 2016. \nMiriam Akkermann: TBA\nAbout the panelist\nMiriam Akkermann conducts research on music of the 20th and 21st centuries\, computer music and music technology\, digital musicology\, musical performance practice and music archiving\, as well as the study of the effects of music on sleep. She received her PhD from the Berlin University of the Arts in 2014 and completed her habilitation at the University of Bayreuth in 2023. Since April 2024\, she has held the Ernst von Siemens Music Foundation Professorship at Freie Universität Berlin. \nLi Zhong \nLi Zhong’s speech highlights the growing role of music in promoting holistic health\, including emotional\, cognitive\, and social well-being. He underscores China’s efforts under the “Healthy China” strategy to advance interdisciplinary collaboration across music\, technology\, medicine\, and psychology. The Central Conservatory of Music is presented as a key driver in this field\, actively leading cross-disciplinary research and innovation in areas such as music neuroscience and artificial intelligence\, and expanding the role of music in public health. The speech calls for stronger international cooperation to further advance this field and contribute to global well-being. \nAbout the panelist\nLi Zhong was born in September\, 1972 in Shuozhou\, Shanxi province\, Han nationality. Started working in July 1995\, he achieved the Master of Laws degree. Being the Master’s Supervisor in the major of  Intercultural Communication and Language Broadcasting at the Communication University of China and the associate research fellow\, he has been the Vice Chairman of the University Council of the Communication University of China and is the Vice Chairman of the University Council of the Central Conservatory of Music presently.\nHe is the supervisor of the 11th Council of the Party Building Research Association for Universities in Beijing; Vice President of the first Party Building Research Association for Radio and Television of China Federation of Radio and Television Social Organizations; Member of the 9th Council of the Ideological and Political Education Branch of Chinese Association of Higher Education.\nFrom April to July 2009\, he visited the University of Reading in the UK to conduct research primarily in student affairs management and educational development. He has been dedicated to systematic research in the fields of cross-cultural communication and language dissemination\, focusing on cultural interaction mechanisms within a globalized context. He explores collaborative training models for international talents in response to the needs for enhanced international communication efficacy\, continually promoting the integration of academic development with practical demands. His achievements are significant both in theoretical innovation and practical application. \nLi Xiaobing: An Introduction to Recent Advances in Music AI\nThis lecture will provide a systematic exploration of the profound impact of artificial intelligence on music creation\, performance\, and reception. It will highlight cutting-edge developments\, including automatic composition systems\, music foundation models\, singing voice synthesis\, robotic music performance\, and research at the intersection of music and brain science. \nBuilding on this\, the lecture will further analyze how AI influences various sub-disciplines of music\, demonstrating that its role has expanded beyond technical applications to reshaping disciplinary structures and research paradigms. The lecture will emphasize that AI is not merely an auxiliary tool\, but a key force driving the transformation of music education systems and the music industry. \nAs AI technologies continue to advance\, the modes of music production and dissemination are undergoing fundamental changes. In addition\, from philosophical and aesthetic perspectives\, the lecture will examine how AI is reshaping mechanisms of musical expression and aesthetic judgment\, prompting a rethinking of the nature of art and the role of the creative subject\, and ultimately leading to a systematic restructuring of the discipline of music as a whole. \nAbout the panelist\nLi Xiaobing is Professor and Doctoral Supervisor at the Central Conservatory of Music\, Director of the Department of Music Artificial Intelligence\, National Leading Talent in Philosophy and Social Sciences\, recipient of the Central Propaganda Department’s “Four Kinds of Talents” award\, expert entitled to special government allowances\, Principal Investigator of major national social science projects\, the Chair of the China Computer Federation (CCF) Computational Art Branch\, the Chair of the Chinese Association for Artificial Intelligence (CAAI) Art and Artificial Intelligence Commission. He also leads the “National Huang Danian-style Faculty Team” in higher education.\nA Doctor of Composition\, Li Xiaobing graduated from the Composition Department of the Central Conservatory of Music\, where he studied under the renowned composer Professor Wu Zuqiang\, Honorary President of the Chinese Musicians Association and the Central Conservatory of Music. His musical creations span almost all genres\, with works enjoying wide popularity and significant influence. He has been honored with numerous domestic and international awards\, including the Golden Bell Award\, the Wenhua Grand Prize\, the Wenhua Composition Award\, first prizes in national opera and dance drama competitions\, and the “Five One Project” Award from the Central Propaganda Department.
URL:https://icmc2026.ligeti-zentrum.de/event/panel-music-technology-and-the-mind/
LOCATION:Hamburg University of Technology\, Building H\, Audimax 1\, Am Schwarzenberg-Campus 5\, Hamburg\, 21073\, Germany
CATEGORIES:14-05,Panel
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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