Archives par mot-clé : instruments gestuels

Projet Light Wall System – semaine hors limites

Etudiants de la HEAR (et du Conservatoire par demande), vous êtes invité rejoindre le projet Light Wall System durant Hors Limites :

avec Gérard Starck, Tom Mays, Françoise Kubler, Jean-Daniel Hégé, et Antoine Spindler, plus intervenant extérieur Jean Geoffroy.


Le geste augmenté :Light wall system

Nous proposons un atelier pluridisciplinaire autour d’un dispositif de captation de mouvement par caméra et transposition sonore : Light Wall System. Ce système a été développé au centre national de création musicale le GRAME à Lyon, d’après l’oeuvre emblématique du “corps instrument” – Light Music de Thierry De Mey. Le percussionniste Jean Geoffroy, interpète à l’origine de Light Music et intervenant principal de Light Wall System viendra animer avec des profs de la HEAR (musique et art) cet atelier qui permettra d’explorer les potentialités du geste et la relation son-espace.

Cet workshop est ouvert à toutes disciplines art et musique – art plastique et visuel, performance, composition instrumentale ou électroacoustique, musiciens instruments et voix, improvisation, danse, théâtre. Chaque étudiant.e  pourra apporter en fonction de ses intérêts, des sons, des objets, des gestes, des instruments de musique, sa voix, des mots, des textes, une idée ou simplement une envie d’expérimenter et d’explorer le potentiel créatif de ce dispositif. Les sons seront enregistrés, joués, manipulés, ajoutés au dispositif et déclenchés par les gestes afin d’augmenter une action, une performance, de créer une musique de mouvement ou performance sonore spatiale.

Durant la semaine, les étudiants pourront accéder à un laboratoire d’enregistrement et de création sonore et expérimenter l’espace interactif de Light Wall System pour créer seul ou en groupes des créations plastiques, sonores et musicales de petites formes – certaines réalisations seront programmées à l’évévement “La Nuit de l’Aubette le 30 novembre. Par la suite, un deuxième workshop, suivi d’une présentation, est programmé en mars 2019 au Shadok pour développer vos recherches et perfectionner vos réalisations.

Afin de mieux préparer la semaine, nous organisons une séance de rencontre le soir du 6 novembre à 19h dans la salle 19 au rdc du Conservatoire (Cité de la Musique et de la Danse).

Presentation du compositeur Garth Paine

Ce vendredi 16 mars à 14h, conférence/atelier/concert avec Garth Paine, compositeur de musique expérimentale interactive…

salle 156, cité de la musique et de la danse


Future Perfect and EcoRift are VR works by Garth Paine.  In this talk Paine will discuss the experience of Place within VR and his development of ambisonic tools for Unity 3D.  He will outline his current collaboration with IRCAM/ZKM on a new 360 immersive VR concert work, Future Perfect, which will use personal smart phones to provide a VR image space supported by HOA Ambisonic and WFS soundfields. The Ambisonic audio will provide a detailed ambient whist the WFS will permit sounds to follow and be passed between individuals.  Smart phone tracking will facilitate sound exchange and vector lines to be drawn between individuals.

EcoRift focuses on bringing the national parks of SW American into hospitals, schools and homes of people across the globe. Democratizing access whilst also augmenting social impact of these magnificent environments through applications in wellbeing, post surgery recovery and education.

Both works will be presented. The talk will finish with a small performance utilizing your smartphone – so please bring it along..


Bio:

Garth Paine is a composer, performer and scholar. He has created interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behavior and composed many music scores for dance works, generated through realtime video tracking and bio-sensing. He was awarded a Green Room Award for Outstanding Creativity, for Escape Velocity (Company in Space) and was a finalist for the Best new Musical Score for Dance, 2014. His work has been shown across the globe. Recent performances in Australia, USA, Korea and Europe have presented works for percussion and live electronic processing, resonating metal instruments, motion tracked dance and Tibetan singing bowl robots. The breadth of his practice is expressed through an enquiry into sound as material.

Garth established and directed the Virtual, Interactive, Performance Research environment (VIPRe) and is internationally regarded as an innovator in interactivity for experimental music and performance. His scholarships ranges from leading the Taxonomy of Interfaces for Electronic Music performance (TIEM) project with partners McGill and the EMF, producing an online database of NIME practices, to papers on interaction and somatics. He presented the Keynote at NIME2016 which outlined a framework for digital music instrument design. Dr. Paine is a Professor of Digital Sound and Interactive Media at the School of Arts Media and Engineering and Digital Culture program at Arizona State University

 

Inscriptions 2018-2019 !

Les inscriptions sont ouvertes à l’Académie Supérieure de Musique de Strasbourg de la Haute Ecole des Arts du Rhin pour :

Licence et master en composition instrumentale, vocale et mixte => prof. Daniel D’Adamo
et
Licence et master en création et interprétation électroacoustique => prof. Tom Mays

Partenariats et collaborations avec le Festival Musica, l’Académie de composition Philippe Manoury/Festival Musica et avec divers formations et ensembles régionaux (Linéa, Hanatsu Miroir, L’Imaginaire, …). Collaborations avec structures et événements à l’international (le ZKM à Karlsruhe ou le Festival EviMus à Saarbrucken).

Les étudiants en Composition de Daniel D’Adamo suivent également une formation de base en électroacoustique et informatique musicale avec Tom Mays. L’étude de la composition mixte implique le suivi des deux dominantes – composition et création/interprétation électroacoustique, avec une bonne matrise des deux.

Les études en Création et interprétation électroacoustique incluent:

  • La “composition électroacoustique” sur support ou en temps réel
  • La “réalisation électroacoustique” en forme de sons fixés ou dispositifs temps réel ou interactifs pour la création musicale/sonore en relation avec l’espace, l’art plastique, le film/vidéo, le multimédia, danse, thâtre, performance et d’autres disciplines
  • La réalisation et la programmation de dispositifs de jeu d’instruments électroniques, et leur interprétation musicale écrite ou improvisés.

La composition mixte est également ouverte aux étudiants en création électroacoustique, impliquant de suivre les cours du cursus de composition avec Daniel D’Adamo et de démontrer un bon niveau en composition instrumentale.

Pour plus d’info sur la création et interprétation électroacoustique :

Présentation


Attention!
Date limite d’inscription 15 janvier 2018
Dead line January 15, 2018
Site => http://admissions2018.hear.fr/M-home.html

New York City Electroacoustic Improvisation Summit – Call for works

(pour plus d’info : http://eis.nyc)

Call for Works

The Emerging Media Technology program in the Entertainment Technology department at CUNY’s New York City College of Technology invites submissions for the third annual New York City Electroacoustic Improvisation Summit, a concert series featuring music by artists focused on the integration of music improvisation and real-time interactive computer systems.

NYC EIS is made possible by faculty, staff, and students in the Emerging Media and Entertainment Technology programs at CUNY’s New York City College of Technology.


Venue

NYC EIS 2018 will take place on Friday, February 23rd, and Saturday, February 24th, from 7:00 to 9:00 PM on both nights, at New York City College of Technology’s Voorhees Theater.

We will provide the following:

  • Stereo sound. Our sound system includes a pair of Meyer Sound CQ-1 speakers with UPA-1P down-fills and 650-P subwoofers.
  • Lighting.
  • Stagehands and technical crews for sound and lighting.
  • Documentation. We endeavor to capture audio and video of each performance, but cannot make any guarantees about the availability or quality of documentation.

How to Submit

Email eis@entertainmenttechnology.org with links to the following (no attachments please):

  • An abstract summarizing your submitted or proposed work. We program improvisatory works, as opposed to precisely notated or largely predetermined music. Your work must incorporate real-time interaction with a computer system, and this interaction must contribute substantially to the structure and dynamics of the music.
  • Media demonstrating your work, in performance if possible.
    —OR—
    If you are proposing a new work, media demonstrating similar recent work that you have done, in performance if possible.
  • Detailed information about your technical needs, including installation diagrams and equipment list. Indicate any personnel or equipment that you plan to provide.

Deadline for submission is October 25, 2017, end-of-day Eastern Standard Time.

Please note the following:

  • You must be able to perform a version of your work that is less than 15 minutes in length.
  • Submission of a work does not guarantee acceptance.
  • We cannot provide remittance for travel or accommodation. All costs for lodging and travel to and from NYC EIS 2018 must be assumed by participants.
  • There is no registration fee.
  • We cannot provide instruments, performers, personnel, or equipment beyond what is listed under the Venue section above.
  • Presence at the summit is required of all authors of accepted works.

Evaluators

  • Lauren Hayes, Ph.D, Arizona State University — external evaluator
  • Kevin Patton, Ph.D, George Washington University — NYC EIS co-founder
  • Adam Wilson, Ph.D, New York City College of Technology — NYC EIS co-founder, director

Please address all inquiries to eis@entertainmenttechnology.org.

Création Electroacoustique au festival Next Generation au ZKM à Karlsruhe

La classe de Création et Interprétation Electroacoustique de la HEAR, avec les pratiques sonores, Phonon et Sonic, vont être présent au Festival Next Generation 7.0 au ZKM à Karlsruhe du 14 au 18 juin pour un concert le 15 juin à 17h, deux installations du 14 au 17, et une présentation « studio report » le 15 à 14h.

Voici les liens pour le programme:

programme générale:
http://zkm.de/event/2017/06/nextgeneration-70

Installations:
http://zkm.de/event/2017/06/nextgeneration-70-installationen

Concert:
http://zkm.de/event/2017/06/nextgeneration-70-sensorik-konzert-iii-iv


contributions HEAR :

Concert

Thursday 15th of June, 17h

New works by students of the Electroacoustique Composition and Performance class of the HEAR / Académie Supérieure de Musique de Strasbourg

1) Stomatopod, solo 9-string electric guitar and live computer – Guido Pedicone (2017, 10 min)

Exploring extended technique – such as tapping, slapping, picking and sliding – to create a sound canvas built of squeaking, rubbing, dissonance, and noise. The computer part is made from sounds originating with the instrument that either become independent entities, or serve to expand the instrumental sound.

2) About frogs, Fixed-media electroacoustic multichannel composition – Etienne Haan (2017, 4 min)

This piece is simply “about frogs”.

3) Katharaxis, Fixed-media electroacoustic multichannel composition – Jean-David Merhi (2017, 7 min)

This piece was inspired by the book « Catharsis » from Luz that was written in reaction to the attacks of Charlie hebdo in 2015. The sound material was produced as part of a radio theater commissioned by the German radio station SWR2, which contains the texts of the book. The name of the piece comes from an interrogation about the close links between katharsis and ataraxia (from the Greek ἀταραξία, meaning « absence of troubles »)

4) HAL, Electronic Ensemble of Strasbourg (2017, 8 min)

Guido Pedicone, Etienne Haan, Jean-David Merhi et Sergio Núñez Meneses

The Electronic Ensemble of Strasbourg exists since 2013 with students from the electroacoustic class of the Strasbourg Music Academy as part of a course in electronic instrument design. This is their latest work, a network-based gestural electronic music performance for four tablets, where each player can “steal” sounds and configurations from another player over a local network.


Installations

14-18 June 2017

Sound installations by art students of the Haute Ecole des Arts du Rhin (HEAR) – Strasbourg and Mulhouse. Optical Waves and Fièvre were both created for the Exposition « Vides Partagés » organisé par la HEAR et le Shadok, Strasbourg, in Nov/Dec 2016.

Emma Kerssenbrock

Optical Waves, 2016

Clay, wood, spring, plexiglas, piezo microphones, amplifier, transducers, 140x200x60cm.

Optical Waves is an acoustic feedback loop, producing an undulatory signal which is suspended between saturation and disappearance. It’s about perception of sound, balance, fragility and hesitation – in a system that reacts to the slightest impulse. The perceived frequency depends on the materials used and the acoustic environment (elasticity of the air, size of the room, etc). The sound is present as much by its physics (echo, oscillation, amplitude) as by its plasticity and presence in the space. The spectator can speak into the ceramic receivers triggering a vibration of a long extension spring which is picked up by piezoelectric microphones and transmitted to electroacoustic transducers. These transducers in turn re-diffuse the vibration back to the structure, thus making the spring vibrate again, completing the feedback loop.

Océane Pastier

Fièvre (Fever), 2016

9 metallic slabs of 666 x 666 mm, 1 iron frame of 4 m2, 6 transducer-loudspeakers, 1 multichannel amplifier, 1 mp3 player

Fièvre (Fever) is an installation made of nine metal slabs contained in a four square meters frame. The slabs vibrate and resonate with sounds of growls and screams that cycle between states of rest and sudden violent awakenings. The sounds spread throughout the material via loudspeakers hidden under the slabs, causing them to shake while evoking a hidden underground world. The bursts of violence that break the silence and make this otherwise orderly, cold and inert structure tremble reflect the feverish nightmares I had as a child. The screams, though hardly recognizable through the metallic resonance, were recorded by myself during sound checks and interviews at a Heavy Metal festival I attended — with bands like Gorod, the singer Max Cavalera from Soulfly, Black Bomb A, Regarde les Hommes Tomber, Neurosis and more.


Studio Report

15 June, 2017. 40 min

Music, sound and space at the Haute Ecole des Arts du Rhin

The HEAR was founded in 2011 as a fusion of the existing École Supérieure des Arts Décoratifs of Strasbourg, the École Supérieure d’Art of Mulhouse and the Académie Supérieure de Musique of Strasbourg (part of the Conservatoire de Strasbourg) – grouping together the disciplines of music, contemporary art, visual communications and design. This first participation of the HEAR in Next Generation 7.0 underscores the interconnections and collaborations existing between the different pedagogical groups dedicated specifically to the practices of music and sound art. This includes the Electroacoustic Composition Class of Tom Mays (including the Composition class of Daniel D’Adamo), the “Atelier Sonic” in Mulhouse with Yvan Etienne et Brice Jeannin, the “Atelier Phonon” with Philippe Lepeut and Joachim Montessuis in Strasbourg, and other instructors actively developing cross-disciplinary projects such as Gérard Starck and « La Fabrique ». In this Studio Report, we will present an overview of our activities around music and sound art throughout the HEAR.

Résonances Electriques 3 – concert étudiant

Concert

Classe de création et interprétation électroacoustique

L’année 2015-2016

Jeudi 23 juin 2016 à 20h
Lieu : Shadok – Fabrique du Numérique
Les Dock’s 25 Presqu’île André Malraux, 67000 Strasbourg, France

La classe de création et interprétation électroacoustique présente un concert d’œuvres choisies parmi les plus réussies de l’année. Créations et pièces du répertoire : acousmatique, mixte, électronique “live” et interdisciplinaire. Vous y découvrirez des musiques pour instruments augmentés et étendus par les traitements temps réel, des instruments électroniques gestuels et des musiques pour orchestre de haut-parleurs – une grande diversité esthétique et sonore à travers des pièces choisies pour leur qualité artistique et leur diversité de langages musicaux…

reselec3-shadok-flyer

photos :

Prize San Fedele 2016 – electronic music performance

PRIZE SAN FEDELE 2016

Electronic Music Performance

sfmusica_testata_newsletter_15-16prize-san-fedele-2016

San Fedele Prize 2016 targeted for the first time in musicians / performers of the various fields of electronic music (from sound designers to soundscape, from DJs to audiovisual artists, from formations of Laptop Music to Communities of Live Coding or Network Music).

Through the Prize, the Cultural Foundation San Fedele in Milan intends to promote the production of new musical quality live performances, in various areas of electronic music (also with audiovisual interaction) in a half-year path from April to September 2016 to enable participants to gain musical, human, thoughtful and professional experience that will lead them to present the final work in the fall of 2016 in the context of the new festival of electronic music in the Auditorium San Fedele with Acusmonium Sator.
Participation in the San Fedele Prize is free.

For more details download the complete Announcement.
Registration modality by email
The prize is open to young italian and international composer/performers residents in Europe born after the first of jounary 1981.The musicians must send by email before March 15, 2016 to: musicasanfedele@gmail.com:
 the application form, duly completed and signed, in pdf format;
• Audio File and / or audio-video filming or records of its significant production, the sending can be made by WeTransfer or Dropbox;
• a maximum of one page curriculum vitae;
• a catalog of the projects;
• a copy of valid identity papers (pdf or jpg).

 

Implementation of the competition and regulations
The selected candidates will participate in two residential meetings in Milan. The sessions are mandatory to participate in the Prize.

  • From 15 to 17 April 2016: Under the supervision of a visiting-professor, study and analysis of the topic of the Prize, presentation of candidates compositions and / or recent live performance, start of musical projects.
  • In a date of 2016 to be defined: a one-day meeting to assess the evolution of the musical project of each candidate in the presence of a visiting-professor.

PRIZE

The final Prize consists in the production of selected projects in the field of electronic music festival of San Fedele Music and the production of a DVD for the work of the winner and the second and third qualified. The whole initiative is entirely non-profit organization.

The Prize is also committed to promoting the works of the finalists at Radio, festivals and Italian musical associations and international.
N.B. Participation in the two phases is mandatory. The organization, in each case, will help authors/performers who live away from Milan, for travel and accommodation.
In case of cancellation of a musician/group, the Responsible shall be entitled to replace him in its discretion.


Con il sostegno di Fondazione Cariplo


infomazioni: tel 02 86352426 – musicasanfedele@gmail.com

www.centrosanfedele.net

Concert Marije Baalman / 13 novembre MAMCS Strasbourg

Concert Marije Baalman / 13 novembre MAMCS Strasbourg

nk-picture-wezen-200x150

JEUDI 13 NOVEMBRE À 20H
Auditorium du MAMCS/Musée d’Art Moderne et Contemporain
Place Jean Arp, Strasbourg

Elektramusic invite Marije Baalman, compositrice et chercheuse au STEIM d’Amsterdam, spécialisée dans le développement d’interfaces de jeu en temps réel. Son univers musical est fait de créations temps réels, d’oeuvres multimédia, d’installations interactives pour la danse et la performance.

Elle propose lors de ce concert trois créations : « Code LiveCode Live », « Scrempler » et « Wezen ».

CodeLiveCode Live (ou livecode embodied / 2009-2014)
Cette performance utilise le codage du son en temps réel comme unique matériau sonore. Ainsi, le seul son utilisé est la frappe des doigts sur les touches de l’ordinateur, les capteurs embarqués et les légers mouvements du corps de l’interprète se chargent du reste…

Scrempler (travail en cours / 2013-2014)
Le « Scrempler » est un instrument pour l’échantillonnage live où deux microphones piezo captent les vibrations d’un support en bois. Le signal est ensuite analysé et reçoit des instructions des capteurs de pression disposés aux six coins de l’instrument.

Wezen (travail en cours /2012-2014)
Wezen est un solo où Marije explore les relations entre le geste de l’interprète, souvent théâtral, les mouvements corporels, les déplacements, et le monde sonore et musical.

Plein tarif : 10 euros / Tarif réduit : 6,50 euros
Places en vente à la billetterie le soir du concert au MAMCS

Lien Concert

Lien Workshop