Keynote speaker John Bischoff reflects on key points of his own musical
history spanning over 35 years of engagement with electroacoustic music
and technology. He will cover a trail of concepts, approaches,
listening orientations, and perspectives that have informed his work
and electro-acoustic music in general. Along the way he will touch on
the music of Gordon Mumma, Thelonious Monk, Charles Ives, David
Behrman, The League of Automatic Music Composers, and the Hub among
others. Issues of time, synchronization, improvisation, and computer
network music will be expanded upon. His talk will be accompanied by
projected images of composers and technology of the period from his own
archives.

Free Association: Snapshots of an Electroacoustic Musical History. Paper by John Bischoff (Rev2, 27.08.07)

The notion of the ‘reduced timbre space’ has been provided to help developing systematized control of timbral dimensions. A demonstration of a MAX/MSP patch will follow realizing standard sound synthesis and processing techniques which parameters can be mapped with the help of a matrix. A compositional example is given showing, how complex, simultaneous parameter changes can allow perceivable gesture control for electroacoustic music.

Controlling reduced timbre spaces - a tool for real time electroacoustic performance. Paper by Andrea Szigetvári

The contribution reports about a long-term research on networked music practices (Föllmer 2004a & 2005a). Analyses of around 70 examples resulted in the identification of twelve types of net music, grouped into five clusters. A historical overview proposes a phase model in which the focus has shifted from an extreme focus on technical, social and aesthetic issues of online communication to practices that use networked systems as one of a larger number of tools, means or subjects. A deductive and a inductive paradigm of musical practice are described, and, concluding, the findings are connected to recent theories on the characteristics of web 2.0, social software and the structuring of groups.

A new folk music? Modelling networked music practices. Paper by Golo Föllmer

The appearance of technical media in every field of life caused major changes in art and culture as well. The followings will not aspire to provide any general analysis of this fact, rather I intend to present here two local initiative, both dedicated to the art and new technologies, from the perspective of the net.art, or let’s say from the point-of-view of a specific historical period, that is the mid-1990’s.

The Intermedia Department of the Hungarian Academy of Fine Arts has been in existence since 1990. Intermedia undertakes to extend artist training to cover art forms and artistic techniques that had made their first appearance in the 20th century, such as photokinetic and electronic arts, multimedia art, installation, environment and action art, new communication technologies, interdisciplinarity.

This is an art faculty, in the context of “fine arts” and provides MA in a five-years curriculum. The primary objective of the training is to enable students to realize the potential of their individual personalities so that they may develop an active and creative presence in the cultural spheres of the information society. The skill to be acquired is the simultaneous comprehension of the various techniques, tools, methods and functions of artistic expression and, within this sphere, the artistically significant practical application of one or more traditional techniques of the visual arts.




C“: Center for Culture & Communication Foundation is a not for profit institution, a space for innovative experiments related to communication and culture. C“ accomplishes research and developmental activities in the intermedial and interdisciplinary domains of art, science, media and visual culture. Since its foundation in 1996, C“ has focused its energies on fostering the integration of new technologies in the social and cultural tradition. The main objectives are: Production, presentation, dissemination and preservation of electronic media arts and culture (Interactive installations, experimental multimedia, net-art); Contemporary (media) art collection, archive, documentation; Research: new interfaces, new forms of communication, artistic applications of the new technologies.



At the Intermedia (http://www.intermedia.c3.hu) the internet became part of the curriculum before the Academy could have got an internet access so the first conferences, like the Metaforum series, were organized and the first artworks were created in such a – literally speaking – virtual environment.




In the early nineties, regarding internet access, there were very limited possibilities in Hungary, only some academic institutions, universities, libraries were faciliated and this was one of the main goals why the C“ program was created, to fasten the internet development, provide access, bandwidth, disseminate the use and the knowledge in Hungary. Besides, C“ during its first three years initiated an international artist-in-residence program and in the frame of this important net artworks were created by artists like Olia Lialina, JODI, or Alexei Shulgin and became accessible via C“ collection.

Illustrations:


1. C3 website, 2000 http://www.c3.hu/log/


2. Alexei Shulgin: Form (1996/97) http://www.c3.hu/collection/agatha/


3. Szegedy-Maszák Zoltán - Fernezelyi Márton: Demedusator (1998) http://demedusator.c3.hu/


4. Olia Lialina: Agatha appears (1997) http://www.c3.hu/collection/agatha/


5. Vécsei Júlia: Juligraph (2000/2001) http://www.c3.hu/~rub/juligraph/juligraph.html

 

…one of he most compelling examples of communicating the brand and values of an institution anywhere on the Web. By using motion, sound, and highly sophisticated (but beautifully simple) interactive teaching tools, the BSO’s Online Conservatory does more to sell the value of a big-city symphony than any brochure, sell sheet, or TV spot ever could.

– The ClickZ Network

In February 2003 the Boston Symphony Orchestra (BSO) Online Conservatory educational initiative was first released to the public, an interactive multimedia addition to the BSO website developed by Northeastern University professors Anthony De Ritis, Ann McDonald and Jay Laird. It offers browsers an opportunity to explore some of the dimensions of BSO performances, view documentaries on the lives and works of the composers, and learn about the musical concepts exemplified by each piece of music.

The Online Conservatory has had numerous citations for its award-winning flash-based design, instructional design, and information technology, including in The New York Times, The Boston Globe, Symphony and Newsweek magazines and The Chronicle of Higher Education. Forrester Research cited the Online Conservatory as an international “best-practice” in web-based marketing. In April 2006, the BSO repurposed the Online Conservatory’s web-based documentaries as video and audio podcasts for iTunes. By June 2006, Gramophone magazine stated that the BSO had already received more than 100,000 downloads.

Northeastern University professor Anthony De Ritis will demonstrate the Online Conservatory, discuss its origin and history, answer questions about the creative process. He will then discuss how this 5-year project has now opened the doors for various cutting-edge converging media projects at the intersection of Web 2.0, Digital Media and music industry.

A lecture by Scot Gresham-Lancaster

This paper surveys past performances in which the author collaborated with several other dancers, musicians, and media artists to present synchronized co-located performances at two or more sites. This work grew out of the author’s participation in the landmark computer music ensemble, “The HUB”. While the HUB uses Local Area Networks to create network based music, each of the various performances discussed in this paper was made possible by an evolving array of video conferencing hardware and software, over continental distances. These will be discussed. The problems and interesting side effects presented by latency and dropouts are a unique part of this performance practice. Leveraging the concepts of shared space, video and audio feedback generate evolving forms created by the combinations of the space, the sounds and the movements of the participants. The ubiquity of broadband Internet connections and the integration and constant improvement of video conferencing software in modern operating systems makes this unique mode of performance an essential area of research and development in new media performance.

No There .. There. Paper by Scot Gresham-Lancaster

GPS-Art is a new art domain, is a new field of artistic activity based on the motion in an open, outdoor space. GPS-Art is the global interactive instrument used for setting up and processing of audio and video material. It integrates elements of audio-visual installation to be used for intermedia communication. All projects of GPS-Art are based on a large urban and open spaces. Projects are ready to be arranged and performed on land, water, air, underwater, as well as in outer space. All GPS-Art projects use GPS-12 device (Global Positioning System used for navigation), Internet, as a large net-instrument, as well as mobile phone technology. GPS-12 describes its own location reflected from the position of 12 satellites hanging above the Northern hemisphere of the globe. Originally GPS-12 is used for navigation and measures in an interactive was many topographic parameters, among others: latitude (from 10 meters through tousands of miles), speed and many others. All measurements are used as a starting points for many art projects of GPS-Art.

Since 2001 throuigh 2005 GPS-Art idea was realized by series of six GPS-Trans net-mobile-GPS performances.
The GPS-Trans 1 (part of http://krakow.cafe9.net) was realized on December 16 and 17, 2000 in form of online, live Internet composition. It combined four 3-hours blocks of 12 hours webcasting. Sixteen mobile phones transmitted sounds from different sectors of the very center of Krakow city. All of them were mixed and transformed live in a studio and sent individually through dedicated audio channel on web to be received with 14-16 seconds Internet Delay. Adding certain amount of audio feedback arranged Internet Wave. Those particular processes were used as a two principles of GPS-Trans 1 for DSP Internet manipulation. The project was also introduction to non-commercial web/radio station, using free and shareware software for art activity.

The GPS-Trans 2 has been performed on August 9, 2001 inbetween 9-10 P.M. and has formed the second part of the city sound and visual exploration, called „Audiovisual map of Krakow city“. Map of the town was used as a graphic score of the audio-visual composition. Position of the car moving through the city with the GPS-mobilephone system installaed was an original invention of the project. The car were used as a immanent element of the city, a large audio instrument. Selected regions between small (Planty) and big ring (Aleje) of the Krakow city was the field of GPS-Trans 2 exploration. Selected part of the city were divided for 63 small regions. Hundrets of most characteristic audio recordings from each region were loaded to the smapler/server to be captured live during the performance of the project. GPS-Trans 2 was webcasted live through Czech Internet Radio Jeleni.

GPS-Trans 3 was performed on December 2, 2002, with similar priniciples as GPS-Trans 2. However new visual forms were included to the project. The car moving over selected sectors of the city controlled live sounds from the passing places. The new element was the series of photos controlled live by the speed of the car. The interactive slide-show appeared on the webside of the project available for all web receivers of the performance of the car activity. The similar mirror system was installed in Chicago and running twin performances webcasted live inbetween Krakow and Chicago. GPS-Trans 3 was one of three European projects, part of Cathedral, multicontinental Internet project composed and performed over years by Williams Duckworth. (www.monroestreet.com/Cathedral).
All GPS-Trans 1-3 were projected live at the Bunkier Sztuki city gallery, public space.
GPS-Trans 4 was the turnng point in the whole GPS-Art series of performances. The Internet as a main projection and receiving area was exchanged to public space with live webcast over Internet. GPS-Trans 4 was prepared and performed at Krzysztofory Gallery in Krakow on June 30, 2003. The new video material was recorded through the set of four, synchronized digital moving cameras, fastened in the car, capturing front, back and both sides of the moving car. All synchronized recordings were interactively playing back through four video projectings on the four screens located in form of regular rectangular imitating the internal form of the car in the gallery. The audience get the opportunity to be active receiver of the interactive projection, controlled live by the car with its own coordinates obtained from GPS-laptop-mobilephone system inside the car.

Similar idea were arranged and performed during GPS-Ttrans 6 at the Ujazdowski Castle in Warsaw on December 9, 2005. Four video recordings (front, back, left and right sides of the car) were obtained by 4 synchronized digital movie cameras installaed inside the car moving over the streets of Warsaw city. The video and audio materials were projected on four screens (in form of rectagular block with front and back projection) exhibited at the Center for Contemporary Art Ujazdowski Castle next evening. All video and audio material were controlled live through GPS/mobile system isnatllaed in the same car exploring center of Warsaw city. Interaction between past and real recording resulted in the original and unique video and audio phase shifting, multichannel illusion of real/non-real space, continues overlap between prerecorded and live material. The GPS-Trans 6 team: Marek Chołoniewski, Marcin Wierzbicki, Jan Chołoniewski, Maciej Walczak.

GPS-Trans 5 was based on live video and live transmission from the car exploring Luxembourg city on January 2005. All the material were used in form of active 3-dimensional, audiovisual score for the live, semi-improvised performance of the ensemble of nine musicians performing concert live at the Bunkier Sztuki city gallery.

The following musicians and artists consisted the GPS-Trans 5 team:
Marek Choloniewski, Marcin Wierzbicki, Jan Choloniewski, Keir Neuringer, Gilad Roth, Sacha Pecaric, Tomek Choloniewski, Tomasz Nazarewicz, Krzysztof Iwanicki, Rafal Mazur, Lukasz Szlankiewicz.

www.gps.art.pl

GPS-Art. Paper by Marek Choloniewksi

This presentation will lay out some new ideas about the role of a conductor in network music performance. Typically, contemporary live electronic music is encountered in form of laptop performances. Here, much the same as in other interactive performance, the man-machine interaction consists of directly manipulating hardware and software. Mixed media performance under the control of a live conductor represents a different, albeit traditional, paradigm, while systems which are manipulated by a conductor via an electronic baton still belong to the former category of live interactive performance. Adding a conductor using software to interact with performers increases the complexity of the interaction by treating performers as intermediary agents between him/her and sound creation.In the networked multimedia performance environment Quintet.net, this is accomplished by on-the-fly generation of symbolic notation by the conductor which will be sight-read by the performers. Hence the metaphor of “playing the performers” (rather than an instrument). This concept is being demonstrated at the conference in my piece “Ivresse 1984,” for which a score by John Cage is being re-composed in real time via the interaction of the conductor with a multi-touch surface (with the generated parts being immediately sent to the performers). This strategy relies on novel software modules for Cycling ’74’s MaxMSP created by Nick Didkovsky and Ádám Siska on occasion of the Music in the Global Village conference.

Playing Performers. Some ideas about mediated network music performance. Paper by Georg Hajdu

Descriptiption of content (20 minutes/4 pages)
The European concept of representing music with notes in a score is only one possibility among many. Computer music on one hand (especially when inspired by Ethnomusicological sources) and contemporary experimental DJing on the other hand both suggest the extension of those concepts and affect the way, how music is performed both, on stage and also connected over the Internet.

Abstract:
This paper will present the authors experiences with developing new computer models of sound articulation partly by analyzing field recordings of the ritual songs of Taiwanese aborigines, partly by integrating contemporary experimental DJing techniques. In his composition “Kopfjägergesänge” (”head hunter songs”) for piano, DJ and 2 laptop performers the author created a musical language connecting these musical worlds by focussing on questions of sound articulation. Furthermore tools (developed in MaxMSP) for capturing sound articulation from field recordings and applying the captured parameters on other sound material will be presented as well as a software, which allows DJing over internet in the frame of Georg Hajdu’s Quintet.net environment.

Sound articulation – from Taiwanese aborigines to DJing over internet. Paper by Johannes Kretz.

“Brokenheart” is a new work for the European Bridges Ensemble (EBE) ensemble and the Dutch LOOS ensemble. In the spring of 2007 I was asked by the EBE to create a work for the Music in the Global Village conference. Quite soon after Peter van Bergen, the director of LOOS, asked me to create a work for sax, piano and percussion which would include improvisation and technology. It seemed to be a somewhat farfetched, but exciting idea to combine the two commissions. So I did.

As part of this lecture/presentation I will show examples of “Brokenheart”, explain how it provides an improvisation setting for 2 or more players using Georg Hajdu’s quintet.net environment and discuss how it applies to other works of mine.

Broken Heart Syndrome, a work for the EBE and the LOOS ensemble. Paper by Anne La Berge

The artist’s field of work at all times reflects the prevailing
social and technological circumstances. Due to the explosive
development and availability of new technologies and information
structures the creative field of the composer is also changing: a
time of great upheaval is emerging. - This change will be
demonstrated through some specific examples based on my own
compositional work since the late 1990ies. They illuminate examples
of an extended field of work, which seeks to distance itself from the
much invoked “ivory tower”.

Based on the 1998 lecture available at: http://www.essl.at/bibliogr/cyberkomp-e.html

Composing in Cyberspace. Paper by Karlheinz Essl
Illustrations for the paper

Digital networks are a useful medium for musical collaborations remote and present, but can the network itself be a source of musical information? In a network-based musical project how can the performance terrain and the network interact and overlap? How can networks be enhanced to include people who donâ019t play laptop?  Where are the elisions between composition, improvisation, and emergent musical behaviors?
 
Using the author’s works for instrumental ensembles with navigation electronics as examples, this paper explores the history, technology, and aesthetics of using the physical spaces and the topology of networks as musical elements.
 
http://music.calarts.edu/~met

Fellow Travelers - Topography as Metaphor and Method. Paper by Mark Trayle.

What do we need to know about each other to play with each other in a network? Do we all have to speak (use) the same language (software?) Do we all have to adhere to an agreed upon protocol? Is that protocol specific to a piece, or could we create one in which many different pieces (performances) are possible? How much freedom does a network piece allow to each individual performer? Is it possible to design an “open” system, in which each performer is free to send any other player any type of message, without any requirements on how it should be used? Each player publishes whichever data (s)he likes to whomever (s)he wants in the network, and the receivers are free to use or ignore that data in whatever way they like. But network music is only achieved once data is being used and shared intensively enough that new emergent behaviors are achieved. This approach favors a practice in which every player in the network is a programmer, because pieces in which all the code is written by one player tend towards uniformity. There is nothing inherently fascinating about programmers performing: network music is interesting because players make their own idiosyncratic and flexible software instruments, and those instruments are responsive to other instruments in a network. Know-Nothing network music uses rich specifications, loosely applied.
This paper will provide examples of the author’s network music projects whose limitations have led to these conclusions. It will also propose a minimal protocol to implement them.

Know-Nothing Network Music. Paper by Chris Brown

Ferenc Liszt Academy of Music, Budapest

Although Quintet.net is an appropriate tool for networked, real-time performances, until now it could use only static score sources
(scores previously engraved with the Score Editor of the Quintet.net CDK). On the other hand, there were professional software to
produce musical data in real-time since a long time ago. JMSL is one of these professional environments, which is able to produce
algorithmical music data in real-time.

The evident claim of connecting these two environments, however, raises to several problems to resolve. As there is a conceptual
difference between the data models used by these two systems, an external tool must be developed to carry out the conversion between these data models. Although it would be enough a simple data conversion tool, the need for future expansion possibilities leads to the developement of a stand-alone translator object with its own, extended data model.

This data model must be planned with the aim of getting a structure which would be able to represent scores imported from many
different formats. To obtain this, it’ll proved that although tree structures could be used to represent many scores, they are basically not good enough to represent any kind of score. With this in mind, we’ll present a new data model that has the structure of a directed graph.

This is a good decision, as tree structures are subsets of directed graphs – so data importing issues can easily be solved – and directed graphs can hold musical information that trees can’t hold in some cases presented below as well.

As Quintet.net doesn’t have an own – automatized – engraving tool, an engraving tool is to be developed and added to the data
exporting module as well. This engraving tool has to be as simple as possible, however, some parameters should be set externally to take control over the exact behaviour of the engraver. With this last step, we’ll be able to send musical data obtained with algorithmical routines of JMSL to the Quintet.net score engine in real-time, thus we’ll manage to enter to the world of real-time network music performances based on dynamically created music material.

Pipelining between JMSL and Quintet.net. Paper by Ádám Siska

META is a computer program which automatically generates compositions for live ensemble. The software generates musical material from a set of user-defined parameters and provides real-time audition as well as automatic transcription to common music notation. Transcribed scores can be further edited by hand and exported to Finale (via MusicXML), Lilypond, or SCORE by San Andreas Press for professional quality publishing. The software was written by the author in Java Music Specification Language (Burk/Didkovsky), and has been used to compose new works for Doctor Nerve, Ethel String Quartet, Kevin Gallagher’s Electric Kompany, Cygnus Ensemble, California Ear Unit, and Either/Or Ensemble.

Automatic composition for traditional instruments using Java Music Specification Language. Paper by Nick Didkovsky

Abstract:
Since its early computer era, network music has
been involved with algorithms, rules systems and
text terminals. We will address algorithmic
composition where it becomes collaborative live
coding in networks, and where both sounds and
program texts are an element of conversation. The
technical and aesthetic strategies behind the
ensemble ‘powerbooks unplugged’ and their
abandonment of the stage will be discussed. While
persons’ actions may be indirect as well as
remote, the text that this mediation is based on
regains the form of a simple letter.

Purloined Letters and Distributed Persons. Paper by PowerBooks UnPlugged.

With the current Internet bandwidth capacities and machine processing performance the personal computer has become an affordable and flexible multimedia platform for high quality audio and video content. Beside the delivery of services such as TV, telephone and radio, the Internet can also be used for the exchange of musical information. Due to the variety and complexity of already existing remote music and communication approaches, an elaboration on this topic is mandatory, which covers any relevant musical, technical or interdisciplinary aspect of remote musical interaction. Therefore, this paper gives an overview of current applied technologies and possibilities with their theoretical background.

Realistic Network Music Performance - Problems, Approaches and Perspectives. Paper by Alex Carôt

A lecture by Sergi Jordá

In recent years we have seen a proliferation of musical tables. Believing that this is not just the result of a tabletop trend, in this paper I first discuss the reasons that make tabletop interfaces promising musical interfaces. After that, I present the reactable, a musical instrument based on a tabletop interface that exemplifies several of these potential achievements.

The reactable: Tabletop Tangible Interfaces for Multithreaded Musical Performance. Paper by Sergi Jordá.

Dr. Jörg Stelkens - the inventor and developer of the tubePlug - presents the idea of flexible network audio routing and gives a live demonstration how to use and integrate this new tool into an audio studio environment.

Demonstration (1 page, 30  minutes)

tubePlug is a project of the
t-u-b-e gallery for radiophonic art installations and audio performances (www.t-u-b-e.de)
City of Munich - Cultural Office
In collaboration with büro Art- Sound- and Softwareproductions (www.stelkens.de)

Staging a net show: tubePlug – an audio network routing plugin. Paper by Jörg Stelkens.

Biography

Education

2005 - Liszt Ferenc Academy of Music, Budapest,
Faculty of Composition
(Zoltán Jeney, Zsolt Serei)
2002 - Budapest University of Technology and Economics,
Faculty of Natural Sciences,
Departament of Physics
2000 - 2005 Bela Bartók Music College, Budapest
(Miklós Kocsár, Miklós Csemiczky)
1996 - 2002 Dániel Berzsenyi Secondary School, Budapest
1994 - 1996
1990 - 1994 Isaac Albéniz Elementary School, Madrid
Prizes

2006 3rd Young Composers’ Festival,
Audience’s prize — Concerto
2005 Competition of the Clavicembalo Foundation,
2nd place — Praeludium et Fuga in a
2002 Berzsenyi Award
2002 National Competition on Physics for Secondary School Pupils,
17th place
2000 National Sándor Mikola Competition on Physics — Finalist
2000 National Tihamér Nemes Competition on Computer Sciences
35th place
1998 National LOGO Competition — Winner
Working experience

2006 The BluePrint Project, Ltd. — Database and Software Engineer
Environment: MS Visual Studio .NET (Visual Basic .NET) — MS SQL Server
2003 - 2006 Zo-Ta Com, Ltd. — Development of database systems
Environment: PowerBuilder (PBScript) — Sybase SQL
2002 TECUM, Lld. — Development of an administrative system for internal use
Environment: MS Access & VB for Applications
Other skills

- Programming languages: C, SQL, VB.NET, Java, PASCAL, CSound, Maple, HTML, PBScript, LOGO
- Knowledge on Windows and Macintosh operating systems
- Basic knowledge on electroacoustical softwares (ProTools, Max/MSP, AudioSculpt
- Knowledge on LaTeX

The LOOS Ensemble is the leading formation of the LOOS Foundation under the direction of composer and multiinstrumentalist Peter van Bergen. Since the late 1980’s this exceptional and highly specialised group initiated, generated and developed an extensive and impressive repertoire of contemporary music. In 2000 The LOOS Ensemble received the prestigious GeNeCoPrize 2000 (Dutch Composers Prize) because of ” exceptional merits in Contemporary Music of The Netherlands”.

Characteristic for the performance style of the LOOS Ensemble is a flinty, granite and confrontationally precise percussive sound. A greater part of the group’s repertoire, is comprised of pieces which go under the name of Factorseries - a steadily growing series of compositions and ?gamestructures? composed by Peter van Bergen, in which music is brought back to it’s essence â013 a trinity made up of chords silences and improvisation with a sound aesthetic all of it’s own. For the reason of these aesthetics and performing style, as well as the specific qualities of the individual members , various composers, among whom Louis Andriessen, Cornelis de Bondt, Huib Emmer, Gilius van Bergeijk, Guus Janssen, Martijn Padding , Yannis Kyriakides, Paul Termos, Edwin van der Heide, Gerard Brophy, Hikari Kyama and many more, have written extraordinary compositions for the ensemble in close collaboration with the group. The musicians of the ensemble have an enormous experience in the performance of all kinds of contemporary composed music, played in all the major ensembles of The Netherlands, and been closely involved in the development of the famous The Hague School, a very specific direction in Dutch contemporary composed
music.

The incorporation of live electronics ( analogue,digital, or computer controlled ) and confrontation with other disciplines in art make that the LOOS Ensemble is adding a new dimension to the compositional results of the The Hague School of the past. Many of the works generated by the LOOS Ensemble have become repertoire performed by ensembles all over the world (f.i. The Bang on a Can all stars, Musikfabrik) . And a lot of these works are so specific that until now only LOOS could do it.

Alongside appearances on many international, festivals, Dutch Culture presentations, radio and television programmes, the LOOS Ensemble and its members have over the last years performed concerts, cooperated with a great variety of artists and institutes, given lectures and workshops throughout the whole of Europe and different parts in the world, like USA, Canada, Mexico, South America, Africa, Russia.

The LOOS Ensemble is part of The LOOS Foundation. The activities of the LOOS Foundation have since 1997 been made possible by means of a four-yearly structural subsidy provided by the Ministry of O.C.&W.( Education,Culture and Science) and since 2005 the City of The Hague.

The LOOS Ensemble line up for the performance in Budapest:

Peter van Bergen (NL) - woodwinds
Gerard Bouwhuis (NL) - grand piano, keyboards
Johan Faber (NL) - percussion, mallets

www.loosfoundation.com
www.infim.com
www.petervanbergen.nl

Biography

(born 1953, in Krakow)
studied organ (with L.Werner), theory of music and composition (with B.Schaeffer) at the Krakow Academy of Music, since 2000 the director of the Electro-acoustic Music Studio . In 1977 he founded Muzyka Centrum Art Society, largely engaged in concert work. Founder and co-founder of many groups: Freight Train (with P.Bikont and K.Knittel), Studio MCH, DoubleMark (with M.Polishook), CH&K&K (with K.Knittel and W.Kiniorski), mc2 duo (with M.Chyrzynski), Infinity Quartett (with K.Neuringer, R.Zawel and R.Mazur), Natural Plastic (with A.Knoles) and Kinetic Trio (with W.Kiniorski and R.Mazur), which deals with concert and recording activities.

Since 1979 member of Cracovian Group Art Association. Choloniewski writes instrumental and electroacoustic music for theater, film and radio, author of sond and video installations, audio-visual, outdoor and net projects. A world renown lecturer, composer, sound artist and live art performer.

Since 1984 he has been giving concerts, workshops and lectures in Europe, North and South America as well as Asia. Author, founder, artistic director, coordinator and cooperator of many international projects: „audio art“ series (1987), Audio Art Festival (1993), International Workshops for New Music Cracow/Stuttgart (with M.Hermann 1993). International Academy for New Composition and Audio Art in Tirol (with M.Penz van Stappershoef -1993 – 1999), Silent Films with Music Live (1994), Global Mix (1998), Art Boat (2000), GPS-Art (2000), Ensemble Spiel (with S.Meier 2003), Bridges and European Modern Orchestra (with K.Kwiatkowski 2003, 2005), Polish Society for Electroacoustic Music (Polish section of CIME/ISEM 2005), Polish Sound Art in China and Chinese Sound Art in Poland (with Dickson Dee and Palsecam in 2006, 2007), PAFME (with B.Boretz and D.Czerner 2006), European Course for Musical Composition and Technologies (coordinated by IRCAM 2007). In 2006 he received Honorable Award of the Polish Composers Union, Award of the Ministry of Culture and National Heritage, as well as the Independent Project grant of the CEC ArtsLink in New York.

www.studiomch.art.pl

Biography

Miklós Peternák, Director
Studied history and art history, graduated from the Eötvös Lorand University
of Sciences and Arts, Budapest, in 1981, received Ph.D. degree in 1994
1981-83: curator, Hungarian National Gallery, Budapest
1983-87: researcher, Art Historical Research Team, Hungarian Academy of
Sciences, Budapest
1987-97: guest professor, postgraduate Video and Communication Department,
Eötvös Lorand University of Sciences and Arts, Budapest
1990-: associate professor, head of the Intermedia Department, Hungarian
Academy of Arts, Budapest
1997-: the general director of C3, shaping and supervising C3 programs and
their theoretical backgrounds.

Webprojects

http://www.c3.hu/collection/index_en.php?t=1
http://www.c3.hu/~rub/net_art/netart.html

Biography

Music technologist and composer Anthony Paul De Ritis was born in New York in 1968. He has completed his Ph.D. in Music Composition at the University of California, Berkeley, holds M.M. in Electronic Music Composition from Ohio University ; and B.A. in Music with a concentration in Business Administration from Bucknell University, studying composition and philosophy. He taught Musical Acoustics at the San Francisco Conservatory as a Collegiate Professor. Since 1998, he is Chair of the Music Department and Director of the Multimedia Studies Program at Boston’s Northeastern University.

His works have been performed in Europe, North America, Asia and Russia. In 2002 he was presented as a composer and performer (violist) at the Weill Recital Hall at Carnegie Hall in New York. De Ritis is perhaps best known for his work Devolution, a Concerto for DJ and Symphony Orchestra.

Many of De Ritis’ compositions engage the use of amplified instrumentation and musical materials borrowed from popular and jazz music idioms. He often uses interactive performance technology based on the Max/MSP software language. His compositions and performances have received reviews in national and international papers, including the Village Voice, Los Angeles Times, San Francisco Chronicle, San Jose Mercury News, New Haven Register, Classical Guitar (England),La Nouveau Rèpublique (France) and Le Nazione (Italy). De Ritis is currently working on an evening length musical remix of African American playwright Ed Bullins’ The Taking of Miss Janie, acclaimed by Time magazine as “a hot, sly, funny, sexy, drunken montage of black-white confrontation.”

Other significant accomplishments include his contracting and managing of 112 musicians for the American premiere of Merce Cunningham and John Cage’s Ocean 1-95 with the Merce Cunningham Dance Company presented by Berkeley’s Cal Performances (1996), and his score for the Macintosh computer game, Step On It, which won the 1997 MacWorld Arcade Game of the Year.

He is the founder and lead developer of the Online Conservatory collaboration between the Boston Symphony Orchestra and Northeastern University, The Online Conservatory allows viewers to explore BSO programs in-depth before their performances.

Biography

Studies of musicology, communication science (Berlin) and broadcast communication arts (San Francisco). Audio practice in radio, sound art and tape pieces. Research on sound installation art, contemporary music and audio media. PhD on networked music in 2002. Curatorial work a.o. for sonambiente (Berlin 1996 & 2006), net_condition (Karlsruhe 1999), Networkshop (Dresden/Berlin 2001) and RadioREVOLTEN (Halle 2006). Since 2007 Juniorprofessor for Audio Culture at Martin-Luther-Universität Halle-Wittenberg.

Biography

Scot Gresham-Lancaster (b. Redwood City, CA USA 1954) is a composer, performer, instrument builder and educator with over three decades of professional experience. He is dedicated to research and performance using the expanding capabilities of computer networks to create new environments for musical and cross discipline expression.

As a member of the HUB, he is one of the early pioneers of “computer network” music which uses the behavior of interconnected music machines to create innovative ways for performers and computers to interact.
He has recently performed in a series of “co-located” performances collaborating in real time with live and distant dancers, video artists and musicians in network based performances.

For over two decades, he has worked with multimedia prototyping and user interface theory and its relationship to new markets as an independent consultant and at Interval Research, SEGA-USA, and Muse Comunications.

Biographic Detail: As a student, Scot Gresham-Lancaster studied with Philip Ianni, Roy Harris, Darius Milhaud, John Chowning, Robert Ashley, Terry Riley, “Blue” Gene Tyrany and Jack Jarret among others. He has been a composer in residence at Mills College. At STEIM in Amsterdam he has been doing ongoing work to develop new families of controllers to be used exclusively in the live performance of electroacoustic music. He is an alumnus of the Djerassi Artist Residency Program. He has toured and recorded as a member of the HUB and Room, Alvin Curran, ROVA saxophone quartet, The Club Foot Orchestra  , and the Dutch ambient group NYX.He has performed the music of  Alvin Curran, Pauline Oliveros, John Zorn, and John Cage, under their direction, and worked as a technical assistant to Lou Harrison, Iannis Xenakis, David Tudor, and among many others.

Links

http://www.o-art.org/Scot/

JOHN BISCHOFF (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands.

Bischoff’s music is built from intrinsic features of the electronic medium: high definition noise components, tonal edges, imperfections, transitions, digital shading, and non-linear motion.

Through empirical play and investigation he builds pieces that can be described as sonic sculptures, shaped in real-time and present for the duration of a performance. Recently, he has fashioned pieces that combine electronically-triggered bells with synthetic computer sounds. In such works bells are distributed around the performance space in a pattern distinct from the speaker locations. His idea is to disperse the sense of “source” in electronic music—to release the music from being trapped in the speaker enclosure—while highlighting the beauty of speaker-transmitted sound at the same time.

Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. His performances around the US include NEW MUSIC AMERICA festivals in 1981 (SF) and 1989 (NYC), Experimental Intermedia (NYC), Roulette Intermedium (NYC), and the Beyond Music Festival (LA). He has performed in Europe at the Festival d’Automne in Paris, Akademie der Künst in Berlin, Fylkingen in Stockholm, and TUBE in Munich.

He was a founding member of the League of Automatic Music Composers (1978), considered to be the world’s first Computer Network Band, and he co-authored an article on the League’s music that appears in “Foundations of Computer Music” (MIT Press 1985). He was also a founding member of the network band The Hub with whom he performed and recorded from 1985 to 1996.

In 1999 he received a $25,000 award from the Foundation for Contemporary Performance Arts (NYC) in recognition of his music.
Recordings of his work are available on Lovely Music, Frog Peak, and Artifact Recordings. A solo album, APERTURE, was released on 23FIVE INC in 2003. He is currently an Assistant Professor of Music at Mills College, in Oakland, California.

http://www.johnbischoff.com

Chris Brown’s music has explored the intersection between many traditions and styles. Beginning as a classical pianist, he was influenced by American experimental and improvisational musics as well as by studies of Indonesian, Indian, and Cuban musics. Since the late 1970’s he has been building a personal electronic instrumentation. At first these were amplified acoustic devices; then he went on to build analog circuits that modified their sounds, and custom-made computer systems that interactively transformed them. More recently, he has extended this fascination with instrument building to the design of computer network systems that interact with acoustic musicians and with other computers and musicians connected over the internet.

He has had commissions for such pieces from the Rova Saxophone Quartet, the Abel-Steinberg-Winant Trio and the Berkeley Symphony Orchestra, among others. As pianist with the Glenn Spearman Double Trio he performed and recorded music in the free-jazz tradition at venues including the San Francisco and Monterey Jazz Festivals, the DuMaurier and Victoriaville Festivals in Canada, and extensively in Europe.
He has performed and recorded with such prominent and varied improvisors as Butch Morris, Anthony Braxton, Wadada Leo Smith, Marilyn Crispell, Barry Guy, Ikue Mori, Dave Douglas, and John Zorn. He has also been active as a pianist in performing the music of composers such as James Tenney, Henry Cowell, Christian Wolff, William Brooks, David Rosenboom, Luc Ferrari, and Terry Riley. 

Chris Brown’s most recent works involve extending the experiences of Network Music into new performance venues. Since 1990 he has also taught electronic music, composition, world music, and contemporary performance practice at Mills College, in Oakland, where he is a Professor of Music and Co-Director of the Center for Contemporary Music.

Links

http://www.cbmuse.com/

Their approach to the computer music medium was strongly do-it-yourself, a
characteristic common both to the electronic technology community of the San Francisco Bay Area, and the experimental instrument-building tradition of Harry Partch, John Cage, and David Tudor.

They approached the computer network as a large, interactive musical instrument in which the data-flow architecture linked independently programmed automatic music machines, producing a music that was noisy, surprising, often unpredictable, and was definitely more than the sum of its parts.

János Négyesy was born in Budapest. He has studied, lived and worked in Paris, Vienna, New York, and other world capitals. In 1979, he joined the faculty of the University of California at San Diego and began a parallel career as a computer artist.

Long an advocate of new music, Professor Négyesy has appeared at major festivals throughout the world and premiered hundreds of new works written specially for him. Not only did he perform the world premieres of John Cage’s ‘Freeman Etudes I-XVI’ and ‘XVII-XXXII’, he was the first European violinist to record Charles Ives’ ‘Violin and Piano Sonatas’, with pianist Cornelius Cardew. He also gives master classes worldwide. In addition to performing, recording and teaching he has written a definitive study of contemporary violin techniques.

Recently he has been receiving acclaim for his expertise as master of the Mathews’ electronic violin. In addition to his interest in new music, he is an exponent of the standard violin repertoire, as well.

http://crca.ucsd.edu/~jnegyesy/
http://music.ucsd.edu/~jnegyesy/gallery2/

born 1972 in Bochum, Germany. Studied German and Philosophy at the Ruhr-University in Bochum and Applied Cultural Studies at the University of Münster, concentrating on the study of popular culture, music and film. During his studies he started to work as a sounddesigner and musician and to perform in Germany and abroad.

Kai works for different German city- and state-theaters and independant theater companies. He composes, produces and performs the music for various plays and directors (such as “Disco Pigs”, “Disney Killer”, “Some explicit polaroids”, “The Shape of things”, “Kriegerfleisch”, “Mutter Courage und ihre Kinder”, “Bungee Jumping”, “Gras” or the German premiere of the theater adaption of Aki Kaurismäki’s “La vie de Bohème”, as well as for the world premieres of Thomasz Man’s “C(r)ash Europe” and Caridad Svich’s “The Tropic of X”).

Besides theater he produces and releases CDs on his own labels WAF80 Music and Rawcanine Records as well as performing live as keyboarder, bassist and singer for different bands and projects. He has worked on various soundtracks for short films. Kai first worked with Georg Hajdu on quintet.net “Mind.Trip” in 2000 before he joined the “EBE” ensemble as a founding member in 2005.

Music on CD:
- Catwalk (2006)
- Red Room Diner (2003, with Resonator)
- Orange Glow (2003, with Nicon)

More Information:
http://kainiggemann.de

Selected works

• 1992-95 Fancy for piano - Peace for violin, clarinet and piano
• Dual for strings
• 1996 Sexta for piano
• 1997 Frische Musikfrucht for chamber ensemble (9 performers), 7 min.
• The Last Ball for Margarita Nikolayevna for symphony orchestra, 12 min.
• 2001 Ship in Embrace of the Endless Dark Ocean for piano, tape and video (dedicated to Joanna Mac Gregor) 8 min.
• 2002 Ray of Dark for Violoncello and Tape 4 min.
• 2003 Talk To Me for Quintet.net, an interactive performance environment for the Internet, 5 min.

 
Works have been performed at/in

• - 2nd, 10th and 11th International Review of Composers in Belgrade and
  Novi Sad
• (SCG) Skopje at the Macedonian Music Festival
• Athens at the 1st Musical Meeting for female composers
• England (Salisbury Festival and in London), Ukraine, Hungary and USA.

Music on CD

• Compilation CDs of the 10th and 11th International Review of
  Composers and the 1st Musical Meeting for Female composers;
• Ship in embrace of the Endless Dark Ocean on ‘Play’ by Joanna Mac Gregor, piano

Andrea Szigetvári studied sound recording and electroacoustic music at Fr. Chopin Academy of Music in Warsaw. After finishing her studies she worked as a music editor, sound engineer, musical producer for Hungaroton Recording Company and Hungarian Radio.
She has worked at the Institute of Musicology as a member of the first computer music research project in Hungary.
In 1989 she was a Fulbright researcher in the USA. First she worked at Brooklyn College with Charles Dodge, later at Stanford University with John Chowning.

After returning from the USA in 1990 she funded the Hungarian Computer Music Foundation to help to develop contemporary music life in Hungary.

From the beginning of ‘90-ies she has been the main organizer of the composition and computer music course of the International Bartók Festival, the Short Circuits contemporary music days and from 1998 the Making New Waves contemporary music festival.
Between 1993 and 1995 she developed the musical informatic course’s curriculum at Pécs University and the electronic music curriculum for the Liszt F. Academy of Music in Budapest. 1995 she started to teach musical informatics in the Pécs University and in 1996 she started to teach electronic music at the Liszt F. Academy of Music in Budapest.

In 2001 she received two “Prix” of the a Bourges Electroacoustic Music Competition in multimedia and sounart categories.
Her creative and reserch work concentrate mainly on the role of the timbre in new music.

Born 1951, guitar, live electronics, guitar synthesizer
musician and promoter of improvised, experimental and new music

Erhard Hirt started playing blues guitar when he was 16 and for the next ten years played with jazz-oriented groups, experimental rock bands, a free jazz combo (Jazzcomunity, in Leverkusen/ Köln), and toured with blues bands (Delta Blues Band and the Matt Walsh Bluesband).

In 1978 he performed his first improvised solo concerts, following this with his own quartet including players such as Martin Theurer, Hans Schneider, Thorsten Müller, Pinguin Moschner, and Wolfgang Fuchs.

In 1980 he organised the first Workshop Freie Musik in Münster.

In 1981 Hirt formed the String Quintet with Anne Le Baron (harp), Candice Natvig (violin), Thorsten Müller (cello) and Hans Schneider (bass) and the following year recorded his first solo guitar record as well as working in and recording with the Quartet, XPact: Wolfgang Fuchs, Hans Schneider and Paul Lytton (record on FMP-Uhklang), and a trio with Radu Malfatti and Schneider.

He founded the european improvising orchestra King Übü Orchestrü in 1984 along with Wolfgang Fuchs, Marc Charig, Guido Mazzon, Radu Malfatti, Phil Wachsmann, Alfred Zimmerlin, and others.

He has also organised a series of ‘Guitar Projects’ featuring Derek Bailey, Stephan Witwer, Davey Williams, John Russel, Uwe Kropinski, Joe Sachse, Mike Cooper, Kalle Laar, Lothar Fiedler, Eugene Chadbourne, Valery Dudkin, Reinbert Evers, Hans Reichel, Jean Marc Montera, Dave Draper a.o.

Hirt has appeared at most of the usual free music and jazz festivals - Moers, the Total Music Meeting in Berlin, Musique Action in Vandoeuvre, Free Music in Antwerp, LMC Festival London …

In the 90ties he formed a trio with Phil Minton and John Butcher (record: „two concerts“ on FMP-own), and worked in a Duo with Lol Coxhill.
Beside his own musical activities he became curator for several music and art events and international exchange projects. (see: www.cuba-cultur.de)

He has been involved with film projects with Martin Cihak and Martin Klapper and Harald Busch, dance performances with Fine Kwiatkowski, performances and installations with Stephan US and Jens Brand, multimedia and network concerts with Georg Hajdu …

His compositions there premiered by Ensemble Zeitkratzer, Ensemble WireWorks and saxophonist Ulrich Krieger.

New projects include collaborations with turntable artist