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Date & Time: /2016 20:00-21:30
Location: Ionian Academy
Title: Ctrl C
Composer: Adam Stansbie
Adam Stanović (Stansbie)
is known for his electroacoustic/acousmatic compositions, which have been widely performed (throughout Europe, Asia, North and South America and Australasia), published (Elektramusic, Musique et Recherche, Taukey and Sargasso) and prized (IMEB, Musiques et Recherches, Destellos Foundation, SYNC2016). Alongside his creative work, Adam has written extensively on the presentation and performance of acousmatic music and he is currently interested in the various ontological/phenomenological paradoxes that the acousmatic tradition seems to produce. Adam has taught at a number of institutions and is currently lecturing at The University of Sheffield where he directs the MA in Sonic Arts and the MA in Composition. For more information, visit:
Title: La Lumière
8 channels (9:45’)
Composer: Alejandro Albornoz
This is the second main section of the octophonic cycle “La Lumière Artificielle”, and corresponds to the first language used of three: French, Spanish and English. In an interview of 1919, the Chilean avant-garde poet Vicente Huidobro, talked about a new project: "The creationist and simultaneist poem La Lumiere artificielle
, for three voices on gramophone with new procedures (...) "This plan was never done. In the future, the poet would create works with sound as central axis and in Spanish and French, becoming an important reference for sound poetry in the Spanish speaking world. This is a work in progress, a cycle inspired by Huidobro’s statement and the idea of voices in a fixed media, dealing with these issues: languages, abstract sounds by voice, new and old technologies.
studied with Rodrigo Sigal and Federico Schumacher and works on acousmatic and live electronics since 2004. His music has been performed in several festivals like Synthèse (Bourges), JIEM (Madrid), BIMESP (São Paulo) and Sonoimágenes (Buenos Aires). He is an active member of the Electroacoustic Music Community of Chile and of the Latinamerican Sound Art Network. Usually he composes for performing arts. He has been producer of several concerts, meetings and publications, highlighting the Festival of Electroacoustic Music of Chile “Ai-maako” and collections of Chilean electroacoustic music. He currently is a PhD researcher on Electroacoustic Composition in the Departement of Music at the University of Sheffield. The central topics in his research are the human voice, poetry, algorithms and language.
Title: Stous Theous
Composer: Dimitris Savva
The title “Stous Theous” ( “To The Gods”)
refers to the process of praying and the need of people to communicate with Gods, seeking to reach that inner spiritual state of ‘nirvana’. The composition is trying to capture in an abstract and spontaneous way that specific feeling of tuning in and gradually moving closer to that undefined spiritual state.
was born in Cyprus, 1987. He received his Bachelor degree (distinction) in music composition from the Ionian University of Corfu and his Master degree (distinction) in Electroacoustic composition from the University of Manchester. In January 2015 he started his PhD in Sheffield University under the supervision of Adrian Moore. His compositions have been performed in Greece, Cyprus, United Kingdom, Germany, Belgium, France, Italy, Portugal, Brazil and USA. His acousmatic composition Erevos won the first prize ex aequo in the student category of acousmatic composition competition Metamorphoses 2012 and his composition Balloon Theories has been awarded with the public prize at the composition competition Metamorphoses 2014.
Title: Éclats de Feux
Composer: Vanessa Massera
Transitional work of my journey in composition, Éclats de Feux
started with many sound recordings of objects and spaces found around Sheffield. As the first piece of my doctoral portfolio, this one acts as a bridge between the school of Montréal, where I come from, and the effervescence of British acousmatic. In this piece, I explored the contrasts between powerful masses and up-close solo objects, with a particular sensitivity to the use of space in stereophony, as my research is focused on the interpretation and performance of acousmatic music. The title refers to the impressive bonfire nights and endless fireworks I have been exposed to in the early weeks after my arrival in the UK. ‘Shards of Fire’
, as it translates, also represent the extreme rapidity and intensity with which one’s life may be completely changed with one single travel.
has recently moved to the UK to research performance in electroacoustic music, with the intention of completing a PhD at The University of Sheffield. Her current preoccupations with the dissemination of experimental music have brought her to explore the present traditions we may and may not have, investigate the legacy of our community and work toward finding ways of a maximised outreach. There is often a sense of place and environmental energy in her music. Places shift, spaces evolve, perspectives change. These ever-evolving environments are a natural starting point for research on the subject of performance of electroacoustic music: how does one effectively transpose once space—encoded onto a hard disk—to a second one, which is live, and in which one constantly receives new information?
Title: The Wolf’s Glen
Composer: Adrian Moore
This piece is a study using vocal sounds. Sound transformations began as part of a project with Juxtavoices, a free improvisation vocal group directed by Martin Archer. Sounds were organised as call/response (around 200 small variants) and a number of solos (ten 30-second passages). This concert work de-constructs the solos and reconstructs the calls to create something that, from the outset suggests an eerie, nocturnal atmosphere.
The Wolf’s Glen
scene in Carl Maria von Weber’s opera Der Freischütz
(1817-20) conjures something devilish and has always had a physical effect on me. In part, my experiment attempts something similar, hence the title taken from the scene. With regards to method, The Wolf’s Glen
continues my research into theoretical ideas thrown open in my text book — Sonic Art: An Introduction to Electroacoustic Music Composition
, Routledge, 2016 — in particular the roles of gesture and texture in determining structure.
The Wolf’s Glen
was completed in the composer’s office studio at The University of Sheffield (England, UK) during the summer of 2012 and premiered on February 9, 2013 as part of the Soundings… series in the Reid Concert Hall of Edinburgh University (Scotland, UK). The opening passages of The Wolf’s Glen were conceived as a musical offering entitled Conjuring diabolus in musica
for François Bayle’s 80th birthday celebration on October 27, 2012 during the L’espace du son festival in Brussels (Belgium).
first came into contact with electroacoustic music in his hometown of Nottingham at a concert given by Denis Smalley. His undergraduate study was at City University (London, UK) where he began to compose in the studio as well as assist the Electroacoustic Music Association of Great Britain (EMAS) — which became Sonic Arts Network (SAN), now Sound and Music) with concerts. The performance of tape pieces using multiple loudspeakers interested him and his further study under Jonty Harrison at the University of Birmingham offered the opportunity of composing for and working with the Birmingham ElectroAcoustic Sound Theatre (BEAST). He graduated in 1998 but his seven years in Birmingham were interspersed with trips to CNSM (Lyon, France, 1991-92) and ZKM (Karlsruhe, Germany, 1995). His works have been performed and broadcast around the world and have received prizes and mentions in numerous competitions, including Musica Nova (Prague, Czech Republic, 1996, 2010), Noroit-Léonce Petitot (Arras, France, 1996), EAR’97 (Budapest, Hungary, 1997), Prix Ars Electronica (Linz, Austria, 1998), Bourges (Bourges, France, 1990, 2002) and Musica Viva (Lisbon, Portugal, 2004). Having always held an interest in bringing the power of the tape medium into the live performance situation as well as to sound diffusion, Adrian Moore sees the technology of today as an ideal tool with which to work as a composer, teacher and performer. He is currently Reader in Music at University of Sheffield where he is the director of the University of Sheffield Sound Studios (USSS). His motivations remain ‘acousmatic’ and current work includes multichannel (5.1) composition, laptop improvisation, and large spatialisation concerts using software developed at USSS. See more: http://adrian-moore.staff.shef.ac.uk
Title: "Winter Landscape 1: Brussels"
Composer: Theodoros Lotis
Do sounds carry meaning? Do they appear, reach our ear and fade away to indicate something, or they just exist independently of any connotation we attach to them? Can the soundscape of a terrorist attack, as the one in Brussels, be disconnected from the terrorist act or its memory?
The " Winter Landscape 1: Brussels " creates a neutral space in which excerpts from the live broadcasting of the terrorist attacks in Brussels can be heard. At the same time, I read the first online announcements uploaded by international media without uttering their meaning. Quietly, in a transparent soundscape, the sounds are allowed to exist without emotional or conceptual content.
Theodoros Lotis studied the guitar, flute, music analysis and composition in Greece, Belgium and the UK, and Sciences of Art and Plastic Arts at the U. of Ioannina. His music has been performed at festivals and conferences in Europe, Australia, America and Asia, and has received a number of awards and distinctions at Bourges (France, 2000), Sculpted Sound Composers Competition (UK, 2000), Metamorphoses (Belgium, 2000, 02), Luigi Russolo (Italy, 2000, 02), CIMESP (Brasil, 2001) and and Jeu de temps / Times Play (UK/Canada, 2002).
He was awarded the first prize at the Concours International de Spatialisation pour l’Interprétation des Ouevres Acousmatiques by Musiques et Recherches, in Brussels. He has done commissioned work for Musiques et Recherches (Belgium, 1997, 2000, 2014), Sculpted Sound Composers Competition (UK, 2000), Amici della Musica di Cagliari (Italy, 2001), the festival Visiones Sonoras (Mexico, 2007) and the clarinetist Esther Lamneck (as invited composer at the New York University in 2012).
Theodoros Lotis has been teaching electroacoustic composition and analysis at Goldsmiths College - University of London, the Technological and Educational Institute of Crete, the Aristotle University of Thessaloniki, Greece and Universities in Europe and America as invited composer. He is Assistant Professor at the Ionian University, Corfu, Greece. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and the Hellenic Society for Acoustic Ecology. His music has been released by Empreintes Digitales
Title: Demons and fairies
May 2016 (premiere) (12')
Composer: Apostolos Loufopoulos
...good and evil, light and darkness, tranquility and intensity, joy, harmony, unrest, anger, conflict, death, rebirth, metamorphosis...
These elements co-exist within a musical context of intense sonic antitheses, inspired by myth and magic, and also by the human nature of emotions, thoughts, internal fight, transcendence...
For the creation of the work, sounds borrowed from an old Greek 6-string bouzouki were utilised, in combination, at certain parts, with transformed vocal sounds.
studied music at the Ionian University, Greece (Music Degree) and at City University, London (PhD in Music). His work is mainly focused on the composition of electroacoustic music and nature, but also in the inter -contextual approach to music and the convergence of musical genres. His music has been performed internationally in renown festivals of contemporary music (such as ICMC, Synthese, L’Espace Du Son and others) and has received a number of awards at international competitions such as Αrs Electronica (Austria), Bourges (France), Noroit (France), Metamorphoses (Belgium), Space of Sound (Belgium), Franco Evangelisti (Italy), Musica Nova (Czech Republic). He is Assistant Professor at the Ionian University, Department of Audio & Visual Arts. He is a founding member of HELMCA (Greek Union of Composers of Electroacoustic Music, www.essim.gr
) and the Greek Society for Acoustic Ecology.
Title: Shadow for classical guitar and electronics
Composer: Georgia Kalodiki
This piece is based on sound processing of pre-recorded voice. The text is based on Alexandros Papadiamantis Love Stories. I use techniques of musical time expansion and I take advantage of the release and reverberant time of sounds. The de-fragmentation of speech ‘harming’ the superficial meaning of text, is there to reveal its inner deeper quality.
Born in Athens (1975), Georgia Kalodiki
has a Master and a PhD in acoustic composition from Goldsmiths College, University of London. She has also studied composition with Yannis Ioannidis, Alexandros Kalogeras, Theodor Antoniou and music for cinema and mixed media Alexandros Mouzas as well as classical guitar. She is currently a PhD candidate at Ionio University of Corfu in Electroacoustic Composition with Theodor Lotis. She has received commissions from Boston University, Kapodistrian University of Athens, Orchestra of colours, Acanthes 2007, Red Noise Ensemble etc. Her music has published from Subways Records. She has composed music for four silent movies in Kakogianni foundation for the 2010-2012 Greek Silent cinema Festivals and for Pharos Foundation. She's has also composed music for theater productions.