Loudspeaker Orchestra Concert
- Sara Pinhero – Acousmatic Foley, Study I
- Annelie Nederberg – Ayvalık And-act
- Nikos Stravopolus – Ballistichory
- Antonino Chiaramonte – Riflessioni
- Michel Chion – Six Studies in Concrete Music
Acousmatic Foley, Study I
This piece is based in three main sounds that result of research-project entitled “acousmatic foley”. The subject is mainly the idea that both Musique Concrète and Foley Art deal with a similar conception of sound-objects. In this case, each recorded object stands for one different field of interest, namely filmmaking, acousmatic sound and acoustic ecology. To support each object, a sound-field was chosen to reinforce the concrete materiality of the sounds. However, the research works towards a theory of sound objects as sound actors, instead of addressing them as tangible items. Still, each sound is likely to produce associations and connect to their referential value. This corroborates the ideas of acting, enactment and fictionality. Following these premisses, the arrangement of this composition is mainly a piece of dramaturgy. The idea of contextualization is fundamental to listening to any of these sounds, which corroborates the ambiguity always implicit in reduced listening. Mostly, these are ideas already in development in a proposal named “staging sound fiction”, which states that a recorded sound does not replace the experience of listening to its source, it is an experience per se.
Sara Pinheiro (1985) is a sound-maker. On film and video art, she does sound recording, editing, foley and mixing. On her own, she makes acousmatic pieces, usually for multichannel performances, radio broadcasts or installations. She graduated in Cinema (Lisbon, 2008) and holds a Master in Sonology (The Hague, 2012). She is a guest lecturer both at The Institute of Sonology and at CAS, in Famu (Czech Republic). Currently, her project “Acousmatic Foley” is in progress with the support of Calouste Gulbenkian Foundation (Lisbon). She is also a member of the live-coding group KOLEKTIV and collaborates with the Barandov Film Studios, both in Prague.
Annelie Nederberg – University of Surrey
This piece is a process of confluence; a way of joining the corporeal relatedness with a place that I experienced when recording prayer calls over water in Ayvalık, Turkey, together with the relatedness I have with the sounds of electroacoustic feedback.
“This ﬂux of awareness is not precisely deﬁnable, and yet it is evidently prior to the deﬁnable forms of thoughts and ideas which can be seen to form and dissolve in the ﬂux, like ripples, waves and vortices in a ﬂowing stream.” David Bohm in Wholeness and the Implicate Order.
I am a creator of acousmatic dances: gestural sounds, voices, and instruments in expressive movement. I want my music to be close to the listener, close enough to touch. I use sounds for their tactile and kinetic qualities in order to evoke physical and emotional responses. Voices are often present as signifiers of human presence, of physical bodies in motion.
I conceptualize of sounds as sentient beings — other-than-human persons with agency — and I explore them through intimate relatedness: with my body, with touch. Acoustic feedback has such qualities and is integral to my practice, above all through the use of a gestural feedback instrument that I have designed so I can play, and play with, the sounds.
I am exploring places through listening and recording in search for their special personality. Through colliquation between the abstract feedback sound and the concrete special place, I create metaphors for the continuum between all living beings: we are not separate individuals, we are dividuals, constitutive of our relationships with each other and with our surroundings.
Nikos Stravopolus – Leeds Beckett University
The title of the work refers to a mode of seed dispersal. Fracturing of the seed pod releases stored elastic energy into kinetic energy launching its contents. The term reflects musical processes as well as timbral qualities of the work. The events portrayed in this piece are fictitious, and any resemblance to real events, past, present, or future, is entirely coincidental but highly probable.
Nikos Stavropoulos was born in Athens in 1975. His works range from instrumental to tape and mixed media. He has composed music for video and dance and his music has been awarded mentions and prizes at international competitions (Bourges, 2000,2002, Metamorphose, Brussels 2002, SCRIME, Bordeaux 2003, Musica Miso, Potrugal, 2004, Metamorphose, Brussels 2008, Punto de Encuentro Canarias International Electroacoustic Composition Competition 2008, Destellos Foundation 2015). Other interests include the performance practice of electroacoustic music, diffusion systems and teaching music and music technology. He is a member of Sonic Arts Network and Hellenic Electroacoustic Music Composers Association. He joined the Music, Sound & Performance Group at Leeds Metropolitan University in 2006 and is a founding member of the Echochroma New Music Research Group.
Antonino Chiaramonte – “Licinio Refice” Conservatoire, Frosinone – Italy
Riflessioni (Reflections) is based upon my personal approach to all different meanings this word may take up. A set of aesthetical choices are based on my personal musical rendering of the acoustic, cognitive, philosophical, psychological and perceptive implications rising from the observation of the reflection physical phenomenon, related to the mental processes started up during the “reflection” attitude. The sound images I developed during the composition process are based upon other images: visual, metaphorical, psychoacoustic, strongly related to memory and reminiscences. The intrinsic structure of the piece is linked to the Gestalt psychological theory, and specifically to the basic concept: “Totality is more than the sum of the single parts”. This idea not only represents the basic functioning of the perceptive process, but also the psychic ones.
Totality as a meaningful unit is represented by the German word “Gestalt”, which means structure, configuration, the peculiar organizational structure of the individual parts that set up totality.
Riflessioni won the 34th International Competition of Electroacoustic Music Bourges 2007, in the section Trivium First category.
Antonino Chiaramonte is an eclectic italian musician, internationally acclaimed electroacoustic composer, sound designer, live electronics performer and flautist.
His music production is oriented towards the research and experimentation on new expressive abilities which arise from the interference between different music languages and technologies applied to the arts. His attention is focused on intermediality, live electronics and performers’ interaction, in a continuous dynamic exchange between gesture/improvisation and control/composition.
He currently is the artistic director and conductor of FLEE (Frosinone Laptop & Electroacoustic Ensemble).
Recently he joined a group of musicians, technologists, composers and instrument builders working on a project called “Operation Integratus”, within the EMERGE (Experimental Media Research Group: https://research.bournemouth.ac.uk/centre/emerge/) of Bournemouth University, co-directed by Prof. Neal White and Dr. Tom Davis.
He is professor in Performance and Interpretation of Electroacoustic Music at the Frosinone Conservatoire and former member of the ICCMR (Interdisciplinary Centre for Computer Music Research: http://cmr.soc.plymouth.ac.uk/), University of Plymouth (UK) as Honorary Research Fellow in Electronic Music Composition in the Faculty of Arts.
His works have been successfully performed in Italy, Switzerland, U.S.A., Canada, Belgium, The Netherlands, China, France, Finland, Japan and U.K.
DIX ETUDES DE MUSIQUE CONCRETE
Michel Chion – l’Université Paris III
commande INA-GRM, réalisée en 1987-88 dans les studios du GRM. révisée en 2007 avec l’aide de Goeffoy Montel; création et réalisation sonore : Michel Chion
Les “Dix Etudes de musique concrète” ont été entreprises pour relancer un terme inventé en 1948 par Pierre Schaeffer, et pour contribuer à restaurer sa définition primitive. La musique concrète est en effet, dans ce sens, non pas une “musique de sons concrets”, mais une musique faite concrètement, à même le son, et aussi une musique existant concrètement , comme substance audible fixée sur un quelconque support d’enregistrement, les sons étant de toute provenance, électronique tout aussi bien.
Il s’agissait aussi de montrer que la technique de la musique concrète ne se réduit pas à sa technologie, en inventant de nouveaux procédés à partir d’appareils aussi banals que les magnétophones. Une manipulation inaugurée pour l’occasion ( micro-montage sans ciseaux, par application sur une même bande de couches sonores successives, en faisant varier manuellement le contact entre le support et les deux têtes d’enregistrement et d’effacement) a donc été utilisée pour réaliser quelques “études de tracé”, dans lesquelles le son devient comme un trait susceptible d’être interrompu, ou bien inscrit en pointillé, tremblé, etc. D’autres études font référence aux Jeux d’eau du répertoire pianistique classique. Les “Dix études op.10” voudraient retrouver la verdeur provocatrice des premières oeuvres concrètes.
Les “Dix études de musique concrète” ont été créées en concert le 25 janvier1988, au Grand Auditorium 104 de la Maison de Radio-France, dans le cadre du Cycle Acousmatique du G.R.M. Elles ont inauguré un cycle d’oeuvres qui, sous des titres particuliers empruntés aux genres traditionnels ( Variations, Sonate, Préludes, etc…) tentent d’explorer différents possibles de la musique concrète, ou art des sons fixés.
Dix mouvements : 1. Toucher-Présence / 2. Phrases / 3. Mots / 4. Rêverie / 5. Craquements / 6. Rixe (hommage à Schaeffer et Henry) / 7. Fonte / 8. Ménage / 9. Manèges / 10. Cantique
DIX ETUDES DE MUSIQUE CONCRETE (Ten Studies in MUSIQUE CONCRETE)
This work was commissioned by INA-GRM, and composed between 1987-88 in the GRM studios, Paris. It was revised in 2007 with the help of Goeffoy Montel; creation and audio production: Michel Chion.
The Dix Etudes de musique concrète (Ten Studies in musique concrète) were undertaken to boost a term coined in 1948 by Pierre Schaeffer, and to help restore its original definition. Concrete music is indeed, in this sense, not a “music concrete sounds”, but music made concretely, out of the sound, and also concretely existing music as audible substance fixed in any recording medium, the sounds are from all sources, electronic as well. The work demonstrates that the technique of concrete music is not reducible to its technology, it demands the invention of new processes from devices such as tape recorders.
The initial manipulations on this occasion (micro-assembly without scissors, applying the same band of successive layers of sound by manually varying the contact between the support and the two recording heads and erasing) was used to achieve some “plot studies,” in which the sound is likely to possess traits of being interrupted, or registered dotted tremolo, etc. Other studies refer to Water Games from the classical piano repertoire.
The “Ten studies op.10” provided a provocative return to the freshness of the first concrete works.
The “Ten concrete music studies” were first performed at the 25 January 1988 concert at the Grand Auditorium 104 of Maison de Radio-France in the Round Acousmatic GRM. They inaugurated a cycle of works that, in particular borrowed from the traditional genres (Variations, Sonata, Preludes, etc …) seeking to explore the different possible concrete music, or art of fixed sounds.
The ten movements are: 1. Touch-Presence / 2 Phrases / Words 3. / 4. Reverie / Crunches 5. / 6. Brawl (a tribute to Schaeffer and Henry) / 7. Cast iron / 8. Household / 9. Rides / 10. Canticle
Michel Chion, born in 1947 in Creil (France), lives in Paris. He is a composer of musique concrète, a writer and a director of films and videos. He has worked as a sound designer collaborating with many different film and video artists, and also composes his own audio-visual films.
As a writer and researcher he has authored over thirty books on sound, music and film, including the seminal text AUDIO-VISION, translated into a dozen languages, including English.
He teaches at the University of Paris III and is invited to frequently present talks and seminars in many countries; he is a member of the advisory board of the journal THE NEW SOUNDTRACK (Edinburgh University Press).
A Former member of the Groupe de Recherches Musicales from 1971 to 1976, and editor to the monthly Cahiers du Cinema, 1981-1986.
Chion posts many texts, free to download, on his website Michelchion.com alongside his blog. The site also contains details of his discography, his bibliography, his music catalog, a glossary (bilingual, French and English) of his concepts, and more accurate biography.
He has received many prizes and awards, including: 1978 Grand Prix du Disque for his concrete music Requiem (1973); Jean Vigo Award 1984 and Grand Prix at Clermont-Ferrand and Montreal in 1984 for his short film Eponine (1984), Cinema of the Best Book Award for his essay The cinema Music (1995); Favorite of the Academy Charles Cros for his 2014 video liturgy La Messe de Terre (1996-2013).