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DTSTART;TZID=Europe/Amsterdam:20260515T153000
DTEND;TZID=Europe/Amsterdam:20260515T163000
DTSTAMP:20260613T201532
CREATED:20260421T144302Z
LAST-MODIFIED:20260421T144302Z
UID:10000173-1778859000-1778862600@icmc2026.ligeti-zentrum.de
SUMMARY:Keynote | James Andy Moorer: History of Computer Music from Mathews to "Man in the Mangroves"
DESCRIPTION:The origins of computer music promised unlimited freedom for composers to make music using sounds that no acoustic instrument could make. This freedom comes with a price. Composing a computer-synthesized piece involves an extra step. You do not just choose the instruments in your ensemble\, but you must also build the orchestra. Over the last 70 years\, we have evolved a wide range of techniques for music synthesis. We have reduced the burden of building the orchestra creation but have not eliminated it.  \nThe creation of “The Man in the Mangroves Counts to Sleep” illustrates this process. About half of the work went to building the computer-based tools for the specialized form of voice synthesis needed for orchestration of the poem. After all these years\, it is clear that there is more to be done to reduce the effort required ofthe composer in bringing the sounds from our imagination into reality. This talk will illustrate some of the problems that had to be solved in the realization of the piece.  \n  \nJames Andy Moorer\nJames A. Moorer is an internationally-known figure in digital audio and computer music\, with over 40 technical publications and many patents to his credit. In 1991\, he won the Audio Engineering Society Silver award for lifetime achievement. \nIn 1996\, he won an Emmy Award for Technical Achievement with his partners\, Robert J. Doris and Mary C. Sauer for Sonic Solutions/NoNOISE for Noise Reduction on Television Broadcast Sound Tracks. \nIn 1999\, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award (oscar) – for his pioneering work in the design of digital signal processing and its application to audio editing for film. \nHe is currently retired. \nFrom 1987-2001\, Dr. Moorer has served as Senior Vice President for Advanced Development at Sonic Solutions\, and is responsible for the NoNOISE package for restoration of vintage recordings. \nFrom 1986 to 1987\, Dr. Moorer consulted for NeXT\, Inc.\, on DSP software architecture for audio processing. \nFrom 1985 to 1986\, he was the chief technical officer at the Lucasfilm Droid Works. \nFrom 1980 to 1985\, he was the digital audio project leader at Lucasfilm\, Ltd. From 1977-1980\, he was the Reponsable Scientifique (technical advisor) at IRCAM in Paris. \nFrom 1975 to 1977\, he was a founder and co-director of the Stanford Computer Center for Research in Music and Acoustics. \nFrom 1968 to 1972\, he was a professional programmer at the Stanford Artificial Intelligence Laboratory. \nDr. Moorer holds a PhD in Computer Science from Stanford University\, granted in 1975. Prior to that\, Dr. Moorer earned an S.B. in Applied Mathematics from MIT in 1968\, and an S.B. in Electrical Engineering from MIT in 1967. \n  \n  
URL:https://icmc2026.ligeti-zentrum.de/event/keynote-james-andy-moorer-history-of-computer-music-from-mathews-to-man-in-the-mangroves/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Keynote
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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DTSTART;TZID=Europe/Amsterdam:20260515T133000
DTEND;TZID=Europe/Amsterdam:20260515T150000
DTSTAMP:20260613T201532
CREATED:20260421T172624Z
LAST-MODIFIED:20260516T112612Z
UID:10000178-1778851800-1778857200@icmc2026.ligeti-zentrum.de
SUMMARY:Piece & Paper Session
DESCRIPTION:Music Program Overview\nLinear A\nChristopher Trapani\nBP clarinet: Sophie Kockler \nRituals of Forgetting and Remembering\nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya \n雨/Rain \nYuan Zhang and Xinran Zhang \n  \nPaper abstracts\nChristopher Trapani: “Linear A: A Composer’s Integrated Workspace”\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: “Magnetic Memory Rushnyk”\nIn what ways can two separate but traditionally gendered types of memory—symbolic embroidered memory encoded in ritualistic textile objects and magnetically encoded memory in historic aeronautical computing—intersect to create a performative decoding instrument? This paper introduces Magnetic Memory Rushnyk\, a woven score-instrument that synthesizes symbolic embroidered memory with hand-woven magnetic memory. The project investigates the convergence of ritual textile embroidery (historically used to carry social and generational meaning) with the ”core memory” techniques developed for early computing and aerospace contexts. By embedding magnetic elements into a traditional East Slavic rushnyk (ritual cloth)\, we create a single performative object where weaving serves as a material practice of memory-making. The installation is activated through a custom-built electromagnetic interface\, allowing performers to ”read” the cloth through touch\, gesture\, and sound. This work extends the Women’s Labor artistic research project\, moving from the sonification of domestic tools to the performative decoding of ritual objects\, proposing a model of memory that is materially durable and physically traversable. \n  \nYuan Zhang and Xinran Zhang: “Hexagram-Based Semantic Composition: Discretizing Embedding Spaces into Symbolic Compositional States for Improvised Performance”\nRecent AI-assisted composition systems often emphasize sound generation and continuous parameter control\, treating semantic embeddings as latent spaces for producing musical material. This paper proposes an alternative approach in which semantic computation supports compositional decision-making rather than sound generation. Building upon prior work on semantic-driven digital scores\, we introduce a method that extracts semantic embeddings from a composer-defined corpus and intentionally reduces and discretizes the resulting continuous space into hexagram indices. These indices are interpreted as symbolic compositional states\, not as predictors of musical content. Each state configures structural conditions — such as the balance between fixed and open score layers\, performer agency\, and degrees of stability and change — within which musical behavior may emerge. Hexagrams neither encode musical materials nor prescribe performer actions; instead\, they function as compact interfaces for selecting and constraining compositional worlds. An artistic example demonstrates how this hexagram-based discretization supports interpretable\, repeatable\, and open-ended improvisational performance within a digital score framework. By combining semantic embedding reduction with a highly compressed symbolic system\, this work reframes AI-assisted composition as a decision-oriented practice that assists composers in shaping musical worlds rather than automating sound production. \n  \nAbout the pieces & artists\nChristopher Trapani: Linear A\nThis paper explores the tools used in the composition of Linear A for Bohlen-Pierce clarinet and electronics (2021). The piece explores the many ways a single microtonal line can be manipulated: echoed\, transposed\, splintered\, zig-zagged\, chopped into bubbling snippets\, and finally\, realigned into a closing chorale. Microtonal features in the bach library\, critical in both the planning and performance stages\, are exploited to pivot between fingerings and the precise non-tempered Bohlen-Pierce tuning. A notation interface uses a system of markers to visualize canonic replies in the electronics. This information is in turn used to generate a master file for real time score following with Antescofo~. The result is a dynamic\, flexible\, self-contained environment that accommodates the peculiarities of the project. \nAbout the artists\nChristopher Trapani earned a Bachelor’s degree from Harvard\, then spent most of his twenties in London\, Istanbul\, and Paris\, where he studied with Philippe Leroux and worked at IRCAM.\nAt thirty he moved to New York City\, earning a doctorate at Columbia in 2017. He is currently Assistant Professor of Electronic Music and Digital Media at Louisiana State University.\nRecent commissions have come from Klangforum Wien\, Ensemble Modern\, and Radio France. His works have been heard at Carnegie Hall\, Southbank Centre\, Wiener Konzerthaus\, Ravenna Festival\, and Wigmore Hall.\nChristopher is a Guggenheim Fellow (2019)\, winner of the Rome Prize (2016) and the Gaudeamus Prize (2007). Waterlines\, his debut portrait CD\, was released on New Focus Recordings in 2018\, followed by Horizontal Drift in 2022 and Noise Uprising in 2024.\nChristopher splits his time between his hometown of New Orleans and his European base in Palermo\, Sicily.\nFor more information: www.christophertrapani.com \nBP clarinet: Sophie Kockler \n  \nJocelyn Ho\, Margaret Schedel and Sofy Yuditskaya: Rituals of Forgetting and Remembering\nRituals of Forgetting and Remembering is a performance work for three interrelated instruments: the new Magnetically Memory Rushnyk\, the EM Embroidery Hoop\, the Embedded Iron\, together with ritualistic found objects. Together\, these instruments explore gestures of women’s domestic and ritual labour\, activated as sound.\nThe work responds to forms of labour that are historically taken for granted and structurally forgotten—embroidering\, weaving\, ironing\, maintaining—labour that sustains life yet leaves little trace. The Rushnyk functions as a woven site of memory\, carrying patterned inscription through embroidery and embedded magnetic structures. It is activated through performance rather than display.\nThe EM Embroidery Hoop\, developed in Housework Commons\, operates as an electromagnetic sensing instrument. As performers move the hoop across the surface of the cloth\, variations in proximity\, speed\, and pressure are translated into sound. It decodes signals that are invisible and inaudible through performance gesture. The Embedded Iron\, likewise developed in earlier Women’s Labor works\, extends this reading through acts of pressing\, hovering\, and traversal. Gestures associated with smoothing\, care\, and repetition—often understood as erasing traces—are refigured as acts that reveal and activate what is embedded in the cloth.\nSound in Rituals of Forgetting and Remembering does not emerge through instantaneous access or clean retrieval. It unfolds through physical effort\, friction\, and sustained engagement. Memory is encountered as something that must be worked for: activated through the body\, maintained through repetition\, and made audible through care.\nBy treating textile gestures as both labour and performance\, the work reframes forgotten memory\, rituals\, and techne and their remembering as intertwined processes. The piece offers remembering not as representation\, but as embodied practice—enacted through textiles\, tools\, and the persistence of women’s work across time. \nAbout the artists\nHo\, Schedel\, and Yuditskaya form the core team for Women’s Labor\, presenting work internationally at venues including the Smithsonian Museum (Washington\, D.C.)\, Goethe Lounge (Sydney)\, and Governors Island (New York). \nDr. Jocelyn Ho is an internationally acclaimed pianist\, multidisciplinary artist\, theorist\, and composer whose work integrates embodied performance\, multimedia technologies\, and audience interaction to reimagine contemporary concert practices. She has published on embodied cognition\, gesture\, music and technology\, and early recording analysis\, and is a Lecturer at the Sydney Conservatorium of Music. \nDr. Margaret Schedel is an interdisciplinary researcher and Professor of Music at Stony Brook University\, and Co-Director of the Human-Centered Computing group at the Institute for Advanced Computational Science. Her work bridges sound art\, AI\, and human-centered applications\, including machine learning in creative practice and neurorehabilitation. \nDr. Sofy Yuditskaya is a site-specific media artist and educator working with sound\, interactivity\, code\, and salvaged material. Her practice explores techno-occult ritual\, participatory performance\, and the entanglements of technology\, petro-culture\, and consciousness. She is research faculty at De Vinci Higher Education in Paris. \n  \nYuan Zhang and Xinran Zhang: 雨/Rain\nRain / 雨 is a digital-score composition that explores how semantic meaning can be translated into performative musical states. The work begins with Chinese poetic fragments related to rain\, which are processed through language embeddings and mapped onto hexagram-based structures. Rather than using AI to generate musical material directly\, the system uses semantic computation to select symbolic states that shape the behaviour of the score. \nThe resulting digital score presents six animated layers\, corresponding to the six lines of a hexagram. These layers guide density\, gesture\, continuity\, and interaction\, while leaving space for performer agency. For this ICMC presentation\, Rain is presented as one realization of the same digital score\, whose identity lies not in fixed instrumentation\, but in its semantic state\, layered score behaviour\, and shared field of listening. In this work\, “rain” emerges not as a fixed image or sound effect\, but as a field of resonance\, accumulation\, and transformation. \nAbout the artists\nYuan Zhang\, Central Conservatory of Music\nYuan Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds a PhD in Electronic Music Composition. She is a core member of the Digital Score Laboratory\, a collaboration with the European Research Council (ERC)\, and translated the Chinese edition of The Digital Score: Musicianship\, Creativity and Innovation.\nHer work focuses on digital scores\, semantic-driven composition\, and performer-centered AI systems. She served as Conference Organising Chair for TENOR 2025 and edited the conference proceedings. \nXinran Zhang\, Central Conservatory of Music\nXinran Zhang is a faculty member in the Department of AI Music and Music Information Technology at the Central Conservatory of Music and holds doctoral degrees in engineering and the arts. His research focuses on music signal processing and language models. He has published over 20 papers in venues including ACL and IEEE\, serves as a guest editor for IEEE Transactions on Computational Social Systems\, and was the global champion of Track A in the 2023 Sound Demixing Challenge. He edited the proceedings of SOMI 2023. \n  \nVolunteers\nSession Chair\nViola Yip \nSound Engineering \nIlia Viazov\nAssistants\nSeha Kim \n 
URL:https://icmc2026.ligeti-zentrum.de/event/piece-paper-session-lubeck/
LOCATION:Lübeck University of Music: Kammermusiksaal\, Große Petersgrube 21\, Lübeck\, 23552\, Germany
CATEGORIES:15-05,Excursion to Lübeck,Piece & Paper,Session
ORGANIZER;CN="ICMC HAMBURG 2026":MAILTO:info@icmc2026.ligeti-zentrum.de
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