concerts: A1 A2 / B1 B2 B3 / C1 C2 C3 / D1 D2 D3 / E1 E2
Concert C1
Heather Mease The House of the Mother of the (2020) 3.42 SEAMUS
Christopher Cook Motor (2022) 5.20 SEAMUS
John Gibson In Summer Rain (2021) 9.20 SEAMUS
Julien Guillamat Synphonie de l’Étang (2nd Mouvement) (2023) 17.00 Maison des Arts Sonores
Stéphanie Laforce Apnée (2021) 4.01 FeBeME
Wim Daeleman Et on recommence, jusqu’à… (2023) 6.52 FeBeME
Victor Outters Anatomie d’un Nuage (2023) 8.34 FeBeME
The House of the Mother of the (2020)
Heather Mease [SEAMUS – USA]
video: 2 channels
duration: 3.42
The title references ‘The House of the Suicide and the House of the Mother of the Suicide‘ two architectural sculptures also referred to as the Jan Palach memorial. The piece reflects intersections of cultural and personal memory in performance of the viola da gamba, in the form of the visual media, and anonymous familial memories one can project onto. Viola da gamba quartet, electronics, 8mm film, family recordings. Performed by Science Ficta.
Heather Mease is a composer, electronic musician and multimedia artist, making work with electronic and acoustic instruments, and mishandled recording/reproduction devices and audio formats. Heather’s research focuses on intersections of early and new music, the sound and appropriation of media, early recording and reproduction technologies, and the audible grain of nostalgia. She hosts Semibegun, a biweekly show on Repeater Radio and boutique music label exploring expanded themes of early musics from the earliest recordings of the earliest pieces to the music composed for instruments made yesterday. Heather is a Visiting Assistant Professor at Oberlin College and Conservatory. www.hmmease.com
Motor (2022)
Christopher Cook [SEAMUS – USA]
fixed media: 2 channels
duration: 5.20
Motor is inspired by the complex sounds generated by the internal combustion engine. The piece uses various sound sources including the human voice and saxophone which are crafted to simulate explosions, electrical sounds, and mechanical motion of gears and flywheels. These sounds are shaped into beat patterns that become very focused at points. Distortion is used to create a sense of intensity and closeness to the source.
Christopher Cook received the Doctor of Mgusic degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He is a recent recipient of a Fromm Music Foundation commission from Harvard University and has received awards from the National Endowment for the Arts, the American Society of Composers, Authors and Publishers, the Music Teachers National Association, and the National Assembly of Local Arts Agencies. He is Associate Professor of Music at Chowan University.
In Summer Rain (2021)
John Gibson [SEAMUS – USA]
fixed media: 8 channels
duration: 9.20
In Summer Rain explores the sound of a rain storm, from realistic soundscape to remote transformations. Rilke’s poem, ‘Before Summer Rain‘ evokes the odd feeling we get when we sense that rain is coming. My piece begins like this, in a typical suburban setting, but soon the downpour rushes us into an imaginary interior world, where harmony colors the rhythm of rainfall, and thunder and lightning take on new forms. This is one of a series of my pieces that weaves in and out of natural soundscape, using it to prompt memories and associations while experimenting with its ability to take on harmonic color and animate rhythm. I think of this music as a form of magical realism, and I hope listeners enjoy entering and leaving the make-believe realm. Much of the pitched sound you will hear comes from recordings of rainfall, subjected to precisely tuned filters and a process of spectral analysis and re-composition.
John Gibson composes electronic music, which he often combines with instrumental soloists or ensembles. He also creates fixed-media audio or audiovisual works that focus on environmental soundscape. His portrait CD, Traces, is available on the Innova label, along with other recordings on the Centaur, Everglade, Innova, and SEAMUS labels. Audiences across the world have heard his music, in venues including the D-22 punk rock club in Beijing, the Palazzo Pisani in Venice, and the U.S. Botanic Garden in Washington, D.C. Presentations of his electroacoustic music include concerts at the Seoul International Computer Music Festival, the Bourges Synthèse Festival in France, the Brazilian Symposium on Computer Music, the Australasian Computer Music Conference, and many ICMC and SEAMUS conferences. Gibson is associate professor of music and director of the Center for Electronic and Computer Music (cecm.indiana.edu) at the Indiana University Jacobs School of Music.
Synphonie de l’Étang (2nd Mouvement) (2023)
Julien Guillamat [Maison des Arts Sonores – France]
fixed media: 2 channels
duration: 17.00
This is the 2nd movement of an acousmatic. All the sounds have been captured by the Etang de Thau, a lagoon near Sète by the Mediterranean sea (South of France).
Julien Guillamat (France) has an impressive musical and academic background: cellist (baron and modern), musicologist, doctor in electroacous%c music composi%on under the direc%on of Jonty Harrison (University of Birmingham), founder and director of Maison des Arts Sonores and the KLANG! fes%val in Montpellier. He is the director and founder of the Europa Meta Orchestra. Today, professor of spa%al interpreta%on (diffusion) and recording technics at the Royal Conservatoire of Mons/ARTS2, composer at the Opéra Orchestre Na%onal Montpellier, he recently joined the Musiques et Recherches team in Brussels.
Apnée (2021)
Stéphanie Laforce [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 4.01
During the covid period, I was confined to Brussels. The deserted streets seemed frozen in glass bubbles and I had the sensation of being in apnoea. Drones flew over the parks broadcasting safety instructions to remind people to keep their physical distance. I recorded these messages to create an electroacoustic composition that would allow me to express the many emotions of that period. A slow progress underwater, full of instructions, followed by the need to return to the surface to finally catch one’s breath!
Stéphanie Laforce. A multidisciplinary artist, she has created a number of plastic art installations in public spaces. She composes environmental music, produces musical improvisation performances, works with video and the digital arts, and builds poetic sound devices for her electroacoustic compositions, with which she develops original universes for the theatre, the circus, exhibitions, multimedia installations, etc.
Et on recommence, jusqu’à… (2023)
Wim Daeleman [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 6.52
‘Et on recommence, jusqu’à …’ (We start again, until …) belongs to a series of compositions that I made with Audacity, a DAW that can be downloaded free. All these compositions had as a starting point a chosen sound material and I also committed myself to using only that material for the entire composition.This composition was based on cello sounds. However, because of the multiple manipulations of these sounds, they are virtually no longer recognizable as such.The composition was made as an exercise while following the course Acousmatic Composition Techniques with Mrs. Annette Vande Gorne. Following her instructions and advice, the composition was restarted several times. Hence the title.
Wim Daeleman. Graduated as a medical doctor in 1974 at the Vrije Universiteit Brussel, he was head of the Informatics Department from 1984–2012 in a medical institute. He completed a postgraduate degree in Information and Library Science at the UIA in Antwerp in 1994. In the last 15 years he has been especially attracted to ancient music and studied cellowith Jan Sciffer at Mol Music Academy. Since quitting his professional obligations, Wim Daeleman has started again to compose, both acoustically and electronically. In relation to his recent electronic work: starting from a limited number of recorded sounds, Wim Daeleman finds it important not just to create sound panoramas but to arrive at a certain progression in the structure of his compositions.
Anatomie d’un Nuage (2023)
Victor Outters [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 8.34
…but the tricky thing about consolation is that to console beings as inconsolable as humans, you have to manage to catch them in a movement that lifts them up and relates to something larger than themselves.
Victor Outters is a versatile sound artist. His latest compositions explore the sonic complexity and purity of digital technologies, and the many contrasts they can offer. Graduated from ARTS² in acousmatic composition (Mons, Belgium), his music is slowly spreading around the world, and has been played in Taiwan, Japan and Canada.
συναυλίες: A1 A2 / B1 B2 B3 / C1 C2 C3 / D1 D2 D3 / E1 E2
Συναυλία C1
Heather Mease The House of the Mother of the (2020) 3.42 SEAMUS
Christopher Cook Motor (2022) 5.20 SEAMUS
John Gibson In Summer Rain (2021) 9.20 SEAMUS
Julien Guillamat Synphonie de l’Étang (2nd Mouvement) (2023) 17.00 Maison des Arts Sonores
Stéphanie Laforce Apnée (2021) 4.01 FeBeME
Wim Daeleman Et on recommence, jusqu’à… (2023) 6.52 FeBeME
Victor Outters Anatomie d’un Nuage (2023) 8.34 FeBeME
The House of the Mother of the (2020)
Heather Mease [SEAMUS – USA]
video: 2 channels
duration: 3.42
The title references ‘The House of the Suicide and the House of the Mother of the Suicide‘ two architectural sculptures also referred to as the Jan Palach memorial. The piece reflects intersections of cultural and personal memory in performance of the viola da gamba, in the form of the visual media, and anonymous familial memories one can project onto. Viola da gamba quartet, electronics, 8mm film, family recordings. Performed by Science Ficta.
Heather Mease is a composer, electronic musician and multimedia artist, making work with electronic and acoustic instruments, and mishandled recording/reproduction devices and audio formats. Heather’s research focuses on intersections of early and new music, the sound and appropriation of media, early recording and reproduction technologies, and the audible grain of nostalgia. She hosts Semibegun, a biweekly show on Repeater Radio and boutique music label exploring expanded themes of early musics from the earliest recordings of the earliest pieces to the music composed for instruments made yesterday. Heather is a Visiting Assistant Professor at Oberlin College and Conservatory. www.hmmease.com
Motor (2022)
Christopher Cook [SEAMUS – USA]
fixed media: 2 channels
duration: 5.20
Motor is inspired by the complex sounds generated by the internal combustion engine. The piece uses various sound sources including the human voice and saxophone which are crafted to simulate explosions, electrical sounds, and mechanical motion of gears and flywheels. These sounds are shaped into beat patterns that become very focused at points. Distortion is used to create a sense of intensity and closeness to the source.
Christopher Cook received the Doctor of Mgusic degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He is a recent recipient of a Fromm Music Foundation commission from Harvard University and has received awards from the National Endowment for the Arts, the American Society of Composers, Authors and Publishers, the Music Teachers National Association, and the National Assembly of Local Arts Agencies. He is Associate Professor of Music at Chowan University.
In Summer Rain (2021)
John Gibson [SEAMUS – USA]
fixed media: 8 channels
duration: 9.20
In Summer Rain explores the sound of a rain storm, from realistic soundscape to remote transformations. Rilke’s poem, ‘Before Summer Rain‘ evokes the odd feeling we get when we sense that rain is coming. My piece begins like this, in a typical suburban setting, but soon the downpour rushes us into an imaginary interior world, where harmony colors the rhythm of rainfall, and thunder and lightning take on new forms. This is one of a series of my pieces that weaves in and out of natural soundscape, using it to prompt memories and associations while experimenting with its ability to take on harmonic color and animate rhythm. I think of this music as a form of magical realism, and I hope listeners enjoy entering and leaving the make-believe realm. Much of the pitched sound you will hear comes from recordings of rainfall, subjected to precisely tuned filters and a process of spectral analysis and re-composition.
John Gibson composes electronic music, which he often combines with instrumental soloists or ensembles. He also creates fixed-media audio or audiovisual works that focus on environmental soundscape. His portrait CD, Traces, is available on the Innova label, along with other recordings on the Centaur, Everglade, Innova, and SEAMUS labels. Audiences across the world have heard his music, in venues including the D-22 punk rock club in Beijing, the Palazzo Pisani in Venice, and the U.S. Botanic Garden in Washington, D.C. Presentations of his electroacoustic music include concerts at the Seoul International Computer Music Festival, the Bourges Synthèse Festival in France, the Brazilian Symposium on Computer Music, the Australasian Computer Music Conference, and many ICMC and SEAMUS conferences. Gibson is associate professor of music and director of the Center for Electronic and Computer Music (cecm.indiana.edu) at the Indiana University Jacobs School of Music.
Synphonie de l’Étang (2nd Mouvement) (2023)
Julien Guillamat [Maison des Arts Sonores – France]
fixed media: 2 channels
duration: 17.00
This is the 2nd movement of an acousmatic. All the sounds have been captured by the Etang de Thau, a lagoon near Sète by the Mediterranean sea (South of France).
Julien Guillamat (France) has an impressive musical and academic background: cellist (baron and modern), musicologist, doctor in electroacous%c music composi%on under the direc%on of Jonty Harrison (University of Birmingham), founder and director of Maison des Arts Sonores and the KLANG! fes%val in Montpellier. He is the director and founder of the Europa Meta Orchestra. Today, professor of spa%al interpreta%on (diffusion) and recording technics at the Royal Conservatoire of Mons/ARTS2, composer at the Opéra Orchestre Na%onal Montpellier, he recently joined the Musiques et Recherches team in Brussels.
Apnée (2021)
Stéphanie Laforce [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 4.01
During the covid period, I was confined to Brussels. The deserted streets seemed frozen in glass bubbles and I had the sensation of being in apnoea. Drones flew over the parks broadcasting safety instructions to remind people to keep their physical distance. I recorded these messages to create an electroacoustic composition that would allow me to express the many emotions of that period. A slow progress underwater, full of instructions, followed by the need to return to the surface to finally catch one’s breath!
Stéphanie Laforce. A multidisciplinary artist, she has created a number of plastic art installations in public spaces. She composes environmental music, produces musical improvisation performances, works with video and the digital arts, and builds poetic sound devices for her electroacoustic compositions, with which she develops original universes for the theatre, the circus, exhibitions, multimedia installations, etc.
Et on recommence, jusqu’à… (2023)
Wim Daeleman [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 6.52
‘Et on recommence, jusqu’à …’ (We start again, until …) belongs to a series of compositions that I made with Audacity, a DAW that can be downloaded free. All these compositions had as a starting point a chosen sound material and I also committed myself to using only that material for the entire composition.This composition was based on cello sounds. However, because of the multiple manipulations of these sounds, they are virtually no longer recognizable as such.The composition was made as an exercise while following the course Acousmatic Composition Techniques with Mrs. Annette Vande Gorne. Following her instructions and advice, the composition was restarted several times. Hence the title.
Wim Daeleman. Graduated as a medical doctor in 1974 at the Vrije Universiteit Brussel, he was head of the Informatics Department from 1984–2012 in a medical institute. He completed a postgraduate degree in Information and Library Science at the UIA in Antwerp in 1994. In the last 15 years he has been especially attracted to ancient music and studied cellowith Jan Sciffer at Mol Music Academy. Since quitting his professional obligations, Wim Daeleman has started again to compose, both acoustically and electronically. In relation to his recent electronic work: starting from a limited number of recorded sounds, Wim Daeleman finds it important not just to create sound panoramas but to arrive at a certain progression in the structure of his compositions.
Anatomie d’un Nuage (2023)
Victor Outters [FeBeME-BeFEM – Belgium]
fixed media: 2 channels
duration: 8.34
…but the tricky thing about consolation is that to console beings as inconsolable as humans, you have to manage to catch them in a movement that lifts them up and relates to something larger than themselves.
Victor Outters is a versatile sound artist. His latest compositions explore the sonic complexity and purity of digital technologies, and the many contrasts they can offer. Graduated from ARTS² in acousmatic composition (Mons, Belgium), his music is slowly spreading around the world, and has been played in Taiwan, Japan and Canada.
International Confederation of Electroacoustic Music
Διεθνής Συνομοσπονδία Ηλεκτροακουστικής Μουσικής
Hellenic Electroacoustic Music Composers Association
Eλληνικός Σύνδεσμος Συνθετών Hλεκτροακουστικής Mουσικής
Department of Music Technology & Acoustics (HMU)
Τμήμα Μουσικής Τεχνολογίας & Ακουστικής (ΕΛΜΕΠΑ)
CIME/ICEM 2023 – Electroacoustic Music Days 2023