Ljudbio I, 2014

Innehåll

Lördag:
  1. Katt Hernandez – Norra Bantorget
  2. Danny Saul – Glitches / Trajectories, 2014
  3. Lars Bröndum – Encircled
  4. Joshua Horsley – Catharsis
  5. James Andean – Between the leaves
  6. Ann Rosén – Runtom
  7. Girilal Baars – Lykanthropos
  8. Marsel Nichan – HALO – Phase One
  9. Hampus Norén – Reva
  10. Thommy Wahlström – 2010 invention for ea no 27 2010 invention for ea no 27
  11. Alejandro Olarte – Apnea
  12. Per Åhlund – Luminous Indigo
Söndag:
  1. Jan Liljekvist – Sommar på Trysunda
  2. Pär Johansson – Öarna I–VI
  3. Lars Bröndum – Double Helix Staircase
  4. Jonas Kjellberg – Retrospections
  5. Girilal Baars – Lykanthropos
  6. Thomas Bjelkeborn – Landing in Berlin
  7. Ilari Hongisto – Taivas alla
  8. Thommy Wahlström – 2010 invention for ea no . 27
  9. Magnus Johansson – Regn
  10. Helene Hedsund – Under Eiffeltornet (den 9/12 2013)
  11. David Granström – Cortex
  12. Sten-Olof Hellström – In My Own Words
  13. Joshua Horsley – Were
  14. James Andean – Between the leaves

 

LÖRDAG

Katt Hernandez – Norra Bantorget

Norra Bantorget is about the square of the same name in Stockholm, and is based in large part on contemporary and historic field recordings taken from there. The square is interesting in that one can see the history of Stockholm’s worker movement, modernism, urban destruction and/or renewal and gentrification and the latest strain of globalization, all contained in that single area. In the piece I try to evoke the ghosts of other possible Stockholms – both those that have disappeared and those that might have been. The traffic at the beginning and end of the piece are a ”picture” of the modern day square, which melts into images of Hjalmar Branting, the Clarion Hotel with its ”Clarion loves Music” slogans, the train station, the brass bands of the Första Maj marches and daily accordion buskers, the former school now turned conference center, dance and theater institutions from the era of Strindberg and the destruction of Klarakvarteren and subsequent building of Kulturhusset (whose architecture and period are in concert with Dansenshus) and the ”choir” of thousands of people from all walks of life who have traversed the square. I completed this piece as a part of my Masters work at KMH in 2013. I also wrote an article about the piece in Nutida Musik, issue 3/2014.

Danny Saul – Glitches / Trajectories (2014)

This piece, as the title suggests, explores audio faults (digital ’glitches’) and space (specifically trajectories of sound), as articulated through an 8-channel image. I chose to work with sequences of sound containing digital faults, which I achieved through subverting the use of several computer processes and transformation tools. Sequences were produced by applying different, unorthodox processes to the same sound materials, from which I created textural and gestural variations, allowing the listener to identify that both the textural (trajectorial) and gestural (glitch) material is from the same family of source sounds, albeit behaving differently.

Denis Smalley’s spectromorphological terminology is found to be suitable in discussing the piece; focus throughout is on behaviour and motion and growth processes. Earlier sections contain a degree or imitative and reactionary behaviour (active / instability, emergence / disappearance and empty / fill). Later, trajectorial sound materials explore reaction, interaction, and growth processes such as agglomeration / dissipation.

The work moves through several stages, focusing initially on noise-based sections. Some materials have been stylised to reference earlier (dare I say cruder), electroacoustic production techniques, and as the piece unfolds the sound quality becomes more refined. Listening to Schaeffer’s early experiments, GRM works such as Ákos Rózmann’s Images of the Dream and Death (1978), and Parmegiani’s classic work Capture éphémère (1967), I find that I am drawn, in part, to what I perceive to be a timestamped sound quality in these recordings; audio production which, whilst being highly sophisticated at the time, now seems more raw in general sound quality. Whilst this may be the result of tape saturation and early recording technologies and techniques, some sound types in Glitches / Trajectories attempt to mimic these qualities, being somewhat distorted and lower in resolution; purists may be appalled to discover that my materials are entirely digital and have not been developed using (nor have they been transferred to), tape at any stage. Equally the listener may disagree with the notion that my materials bear any sonic resemblance to certain qualities found in early musique concrète styles.

Many of the early sound materials developed were subdued and textural in nature (drone based), however as the piece grew, the materials became more abrasive, and I found the lines between texture and gesture were becoming increasingly blurred. I have attempted to emphasise this notion through the structuring of the final extended section which applies behavioural variations to gestural sound materials (with a focus on perspectival space, changes in spectral resolution and spatial trajectories), and may be perceived as equal parts texture and gesture.

Danny Saul is an electroacoustic composer from Manchester, UK. His interests are acousmatic composition, space, sound diffusion, and improvisation.

As a performer his involvement in a variety of experimental projects over the past few years have included a number of collaborations, performances and recordings with notable contemporary experimental musicians including Ben Frost (performing Music for 6 Guitars, at Iceland Airwaves, Reykjavik), Machinefabriek, Greg Haines, Jasper TX, Xela (Type Recordings), and Simon Scott. Danny has played throughout the UK, Europe, U.S.A and Japan. He runs the experimental record label White Box Recordings, and has to date released two solo albums, Harsh, Final. (White Box, 2009), and Kinison – Goldthwait (Hibernate Recordings, 2010).

In 2012 Danny was awarded the Degree of Master of Music with Distinction in Electroacoustic Composition (University of Manchester). He is currently pursuing a PhD under the supervision of Professor David Berezan at the NOVARS Research Centre for Electroacoustic Composition, University of Manchester. Danny’s research is funded by the Arts & Humanities Research Council, UK.

Lars Bröndum – Encircled

Encircled är en komposition som konstruerats från tre ljudkällor:

  • i. med modulsynthesizer,
  • ii. med loopad theremin och
  • iii. med slagverk.

Slagverksinstrumenten (tam tam, finger cymbaler och cymbaler) används både som ljudkälla (via t.ex. genom filtrering) och som ”trigger” av bl.a. oscillatorer & filter och via ”envelope following”. Klangerna har även bearbetats en smula med digital spectral syntes. Titeln ”Encircled” refererar till att man som lyssnare är omringad av högtalare.

Lars Bröndum, tonsättare, live-elektronikmusiker och gitarrist. Bröndums musik har uppförts i Sverige, Japan, Skottland, Litauen, Lettland, England, USA, Spanien, Ryssland och Mexico och har också sänts i radio och webbradio i Tyskland, England, Sverige och USA. Lars arbetar ofta med interaktion mellan akustiska och elektroniska instrument och hans musik utforskar gränslandet mellan noterad musik och improvisation. Kompositionerna struktureras ofta runt cykliska förlopp, ostinatoliknande gester och mikrotonala kluster. När Lars spelar live använder han ofta en modulär analog synthesizer, en Thermin och ibland släpar han också med en dator och kör ett eget program som heter ”Trap” (i Max/MSP).

Lars är doktor i kompostion & musikteori och är lektor i musik vid Högskolan i Skövde.

Mer info: brondum.se/MuArk/Lars_Brondum.html

Joshua Horsley – Catharsis

’Catharsis’ – HORSLEY, Joshua (2014): 
Thematically, Catharsis sits outside of what I consider typical of my practice: Documenting the last act within a previous home, it was pertinent that my upright piano be destroyed for reasons both practical and emotional. 10 hours of source material was reduced to a single 10 minute composition so to detail the process whilst providing an accessible document of subject within a significant time and space.

Joshua Horsley is an artist/ composer from England, UK. Finding congruence with his current Doctoral pursuits, Joshua’s primary creative outputs concern the philosophical investigation of temporality within composition, with additional interests embedded in the musical address of Object Reality and subjective realities. Joshua is an Associate Lecturer at the University of Central Lancashire (UK).

James Andean – Between the leaves

Between the leaves (2012) began when an output error turned John Cage reciting a series of small stories into a dense tapestry of noise; a fitting tribute, perhaps, for a piece created in the centenary of Cage’s birth. The work presents a foreground of clicking gestures – every one following the same trajectory, yet every one unique, with subtle differences in timbre, velocity, and so on – layered and sequenced to provide a balance between monotonous repetition and detailed counterpoint. Behind this foreground layer is a soundscape struggling to be heard, sometimes masked by the mechanical foreground, sometimes spilling forward with a burst, cry, or distant wail. Formally speaking, the piece slows to a halt at about the two-thirds mark, and then turns back on itself: the click trajectory changes direction, and we move back through the piece in reverse, gaining speed as we go, to finish where we began.

James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including electroacoustic composition and performance, improvisation, sound installation, and sound recording. He is a founding member of improvisation and new music quartet Rank Ensemble and interdisciplinary improvisation ensemble The Tuesday Group, and one half of audiovisual performance art duo Plucié/DesAndes. He has performed throughout Europe and North America, and his works have been presented around the world. He is a lecturer at the Centre for Music & Technology of the Sibelius Academy/University of the Arts Helsinki.

Ann Rosén – Runtom

Runtom är komponerad i studion vid Visby International Center for Composers under den vackra våren 2009. Runtom är ett elektroakustiskt verk gjort helt inom den digitala domänen. Kompositionen består av elektroniska klanger och brus genererade med Max / MSP och en Clavia G2 synthesizer. Runtom är ursprungligen ett 4-kanals verk!

Ann Rosén ljudkonstnär och kompositör som arbetar experimentellt och transdisciplinärt. Anns verklista omfattar ett flertal elektroakustiska verk och kompositioner för bl.a. Stockholms Saxofonkvartett, Elgitarrensemblen KROCK och Ensemble Makadam. Ann som är en av Syntjuntans grundare medverkar också i ett antal andra live-elektronik grupper där komposition blandas med improvisation.

Girilal Baars – Lykanthropos

Lykanthropos (2013) is an 8-channel electroacoustic piece. The title refers to the Swedish medieval ballad “Varulven”, literally “The Werewolf”. The ballad tells the story of the young maiden who ventures into the woods and is attacked by a werewolf. She tries to appease the werewolf with her finery – a silk scarf, her silver belt buckle, etc. But the werewolf is determined to have her. In desperation, she climbs a tall tree and screams for help. A young man comes to her help, but in the end both of them are slain by the raging werewolf.

Lykanthropos could be described as an oratorio sans words. The 15-minute long piece tells the story of the ballad using only voice and the transformation of voice material (with the exception of a couple of passages using theremin). Techniques used have been based around largely modular analog equipment, albeit sometimes in their modern digital reincarnation. Compositionally, along with an abstract re-telling of the story, the idea was to create the emotional environment of the individual protagonists–the sounds outside their heads, as well as the sounds inside their heads. Maintaining its relationship with oral story-telling, the piece employs a fairly clear “lead voice” structure and at times refers to the use of repetition in many of the traditional ballads of Europe.

Lykanthropos was premiered at the Electric Spring Festival in Huddersfield, UK (February 2013) and was selected for Sonorities (Belfast, NI, April 2013), CSUF New Music Festival, Voice in the 21st Century (Fullerton, USA), SSSP (Leicester, UK, June 2013) and Toronto Electroacoustic Symposium (Toronto, August 2013), as well as several performances in Sweden (2013-2014). Girilal Baars is a composer, vocalist and performer based in Uppsala, Sweden. His main musical concern is the meeting point of old vocal traditional music and contemporary electroacoustic music. This is also the topic of his PhD research in composition at the University of Huddersfield. The provisional title of the research is “Ballads and Ohms.”

Girilal’s composition “Litanies in Zero Kelvin” represented Sweden at the 2009 Nordic Music Days. In 2010 he wrote and staged an opera for two voices based on Karin Boye’s novel “Kallocain.” Apart from regular concerts and projects in Sweden, in 2013-14 his work has been selected for performances as far apart as Toronto, Belfast, Perth, Tanjung Malim (Malaysia), Kaunas (Lithuania), Vaasa (Finland), Guadalajara (Mexico), Lisbon, Ghent, New York and Turin.

Marsel Nichan – HALO – Phase One

HALO – Phase One, komponerades 2012 för ett 8 kanalssystem. Titeln HALO/Gloria kom från själva upplevelsen av ett 8 kanalsstycke då man som lyssnare är omringad av flera högtalare som skapar en typ av ”gloria” av ljud. Marsel Nichan balanserar som tonsättare ständigt mellan flera kulturella inspirationskällor. 
I den meningen är han en tidstypisk representant för en ung, växande tonsättargeneration som allt mer låter sig påverkas – intryck/uttryck - från ett mångkulturellt samhälle. För Marsel personligen formas inte denna sammansatta mångfald till separata infall, dekorativa färgklickar, utan snarare till en slags konstnärlig helhet, en oupplöslig komposit eller legering. Han gräver i den globala myllan. Dagens expansiva ljudlandskap utgör en skattkista för hans skapande, en ständig källa till inspiration och förnyelse.

Hampus Norén – Reva

Reva, är ett nationellt utvecklingsprojekt mellan Polisen, Kriminalvården och Migrationsverket. Reva är ett rättssäkert och effektivt verkställighetsarbete. Reva är gränsen mellan människor, gränsen mellan hudfärger, gränsen mellan olika juridisk tillhörighet. Reva är institutionaliserad rasism. Reva är på riktigt. Reva är Sverige. Svenskt. Det är nu. Reva är vita människors dikterade villkor. Ett utvecklingsprojekt. Rättsäkert och effektivt. Rasistiskt.

Hampus Norén. Jag växte upp på landet och min familj hade får och höns. Inte så långt från en lansväg. Jag växte upp med huvudet liggandes i mossan lyssnandes till ljudet av bilvägen på andra sidan kullen. Jag växte upp mixstrandes med kassettband och min casiosynt och gjorde låtar från de förprogrammerade kompen. Jag växte upp mer. flyttade till större städer, lyssnandes på annan typ av trafik, lyssnandes på skogen. Jag började göra scener av ljud. narrativ. historier. växer.

Thommy Wahlström – 2010 invention for ea no. 27 2010 invention for ea no. 27

  • Subtitle I: Night and Day.
  • Subtitle II (main) : Excerpts and fork from the battle of Nancy 1477.
  • Subtitle III: Sleeping by the creek. The sounds are changing at night, of many reasons of course.

Tvådelat stycke där delarna skiljer sig åt i karaktär men ändå korresponderar med varandra genom tiden. Tidens ögla rör sig långsammare än tiden.

Thommy Wahlström, tonsättare och musiker, bor i Uppsala. Utbildad på Musikhögskolan i Stockholm. Verksam som musiker i bl.a. improviserad musik.

Alejandro Olarte – Apnea

I have always being fascinated with the idea of temporal layers that can coexist and be superimposed in the mind. These perceptual architectures are strongly revealed in moments of deep concentration or when falling asleep, and often when listening to music. Focusing our attention on breathing can also trigger and induce physiological mechanisms that expose different qualities of time. Breathing brings us back to fundamental questions of life and death; it reminds us how fragile and thin are the lines and veils in between, and how easy it is to escape the fatality of a linear unidirectional arrow of time. 
Apnea (2014) is like the time zero, freezing the internal motion and stopping the mind’s monologue to overfly the images and sensations that resonate from different times in our senses. 
In this piece I wanted to paint the apnea of a traveller exploring the concept of aural threads and mental sonic resonances, sounds that come from a simple everyday life: voices, trains, stations, steps over a framework of melted synthetic soundscapes.

Alejandro Olarte (Colombia) is an electroacoustic researcher, devoted to pedagogy, electroacoustic performance and contemporary music. He is carrying out doctoral research in live electronics and pedagogy at the Sibelius Academy, supervised by Dr. Andrew Bentley. He studied guitar and electroacoustic composition in Colombia, Generative Improvisation and Musical Acoustics at the National Conservatory in Paris, and Computer Music at Paris University. Olarte works as a freelance artist, performing, teaching and animating workshops on music, technology and improvisation.

Per Åhlund – Luminous Indigo

”Luminous Indigo” is an 8-channel piece based on processed field recordings from woods around Stockholm, Trondheim and San Francisco. The recordings where made in 2010 and 2011 and the piece was composed late 2012 at The Electronic Music Studio, EMS, in Stockholm.

“The soundscapes encourage you to travel, and then dissolve, in space and time. To merge with the frequencies. To have a dialogue with yourself. To finally think of nothing...”

Per Åhlund, b. 1976, resides in Stockholm, Sweden where he’s involved in several experimental music-, improvisation- and sound art-projects. His live soundscapes blur the boundaries between noise and music, stillness and hysteria, darkness and light. He create compositions on the verge of dissolving and focuses on mood and texture rather than tonality and rhythm. He performs live on a regular basis and has the last few years toured with acts like Amber Asylum, ?Alos and Origami Galaktika. He has the past years released several full length albums containing abstract, dark soundscapes with such projects as Diskrepant, Den Arkaiska Rösten and Aum Arrhythmia.

Mer info: www.perahlund.se

SÖNDAG

Jan Liljekvist – Sommar på Trysunda

Sommar på Trysunda (2006, rev. 2014) 
Ljud inspelade på ön Trysunda vid Höga Kusten under en vecka i juli 2006 i samband med inspelningen av dansfilmen Ägg och Sten med koreografen/dansaren Anna-Tora Jonasson.

Jan Liljekvist (f. 1962) har studerat komposition för bl a Lars-Gunnar Bodin, Rolf Enström och Anders Blomqvist på EMS EAM-linje 1999–2000. På 1980-talet gitarrist och sångare i skrammelrockbandet The Shoutless som gjorde ett antal skivor och turnerade i Europa. Bildade i början på 1990-talet Två Fisk och En Fläsk, lovordad grupp med medeltida ballader på repertoaren. Från 1998–2012 medlem i metal-bandet Månegarm. Medverkar som musiker och kompositör i olika dans- och teatersammanhang. Jan Liljekvists musik kan höras på cd:n The strange and incredible world of Dr. Jayne Insane & the Gutbucket Philharmonicks (FYCD 1022), ”Eight times falling” (Elektron Records) samt på vinylen Dr. Jayne Insane & Anti Art Alliance (L’amour Records 2013).

Mer info: jayneinsane.se

Pär Johansson – Öarna I–VI

Öarna I–VI (2009–2012) är en svit av sex stycken som bygger på samma tidsliga struktur – ett slags karaktärsvariationer där jag strävar efter så stora skillnader i klang, rum och uttryck som möjligt. Delarna kan spelas separat eller efter varandra i olika kombinationer.

Pär Johansson (f. 1972) komponerar elektronmusik och arbetar som musikbibliotekarie. 
”Min musik är ofta berättande, narrativ, och innehåller ibland omedelbart igenkännbara ljud, men den är knappast programmusik i traditionell mening, även om jag ofta hämtar inspiration ur litterära eller filosofiska källor. Inte heller är den konceptuell ljudkonst, eftersom det estetiska utförandet för mig är lika viktigt som de bakomliggande idéerna. Avsikten är att musiken skall kunna avnjutas också utan kännedom om idéinnehållet.”

Mer info: www.parjohansson.se/

Lars Bröndum – Double Helix Staircase

The title is derived from an idea of masses of sounds climbing up and down matching staircases of timbre and at places falling of the staircase to break into small fragments. I also used the idea of eight synthesis sitting in a circle and the listener(s) sitting in the middle – trying to match each others sounds and movements. I used analog joysticks to move the sound around, pitch ribbons to control pitch, modulation and filters and pressure points to trigger envelopes. The piece was recorded using my analog modular synthesizer with a few digital bits thrown in for good measure.

The piece explores extreme registers and sudden dynamics to create a dramatic structure and form. Double Helix Staircase is in four sections with quite clear divisions:

  • i. slow sustained clusters,
  • ii. rising glissandos,
  • iii. short staccatos
  • iv. slowly pulsating sound masses.

Lars Bröndum, tonsättare, live-elektronikmusiker och gitarrist. Bröndums musik har uppförts i Sverige, Japan, Skottland, Litauen, Lettland, England, USA, Spanien, Ryssland och Mexico och har också sänts i radio och webbradio i Tyskland, England, Sverige och USA. Lars arbetar ofta med interaktion mellan akustiska och elektroniska instrument och hans musik utforskar gränslandet mellan noterad musik och improvisation.

Kompositionerna struktureras ofta runt cykliska förlopp, ostinatoliknande gester och mikrotonala kluster. När Lars spelar live använder han ofta en modulär analog synthesizer, en Thermin och ibland släpar han också med en dator och kör ett eget program som heter ”Trap” (i Max/MSP).

Lars är doktor i kompostion & musikteori och är lektor i musik vid Högskolan i Skövde.

Mer info: brondum.se/MuArk/Lars_Brondum.html

Jonas Kjellberg – Retrospections

Jonas Kjellberg is an electro-acoustic composer and alumnus from the Royal College of Music in Stockholm. With a special interest in intermedia, generative processes and interactive applications, Jonas works a lot with sensor based technology. Currently freelancing as a composer and sound designer for video games.

Retrospections is a piece of acousmatic music relying on recordings of the Swedish archipelago, Rwanda, and a bunny eating several different things. Being my first proper venture into musique concrete, I decided to go with a purist approach as an homage to the electro-acoustic tradition. By intervening as little as possible, I used ordering and layering as the only compositional techniques. Aside from the use of convolution reverb and some pitching, the sounds are delivered in their pure original form; No EQ’s, effects or even panning has been applied to the material. Retrospections is a love letter to the crisp and delicate sounds of our world, and to the places where they can be found.

Girilal Baars – Lykanthropos

Lykanthropos is an 8-channel electroacoustic piece. The title refers to the Swedish medieval ballad “Varulven”, literally “The Werewolf”. The ballad tells the story of the young maiden who ventures into the woods and is attacked by a werewolf. She tries to appease the werewolf with her finery – a silk scarf, her silver belt buckle, etc. But the werewolf is determined to have her. In desperation, she climbs a tall tree and screams for help. A young man comes to her help, but in the end both of them are slain by the raging werewolf.

Lykanthropos could be described as an oratorio sans words. The 15-minute long piece tells the story of the ballad using only voice and the transformation of voice material (with the exception of a couple of passages using theremin). Techniques used have been based around largely modular analog equipment, albeit sometimes in their modern digital reincarnation. Compositionally, along with an abstract re-telling of the story, the idea was to create the emotional environment of the individual protagonists–the sounds outside their heads, as well as the sounds inside their heads. Maintaining its relationship with oral story-telling, the piece employs a fairly clear “lead voice” structure and at times refers to the use of repetition in many of the traditional ballads of Europe.

Lykanthropos was premiered at the Electric Spring Festival in Huddersfield, UK (February 2013) and was selected for Sonorities (Belfast, NI, April 2013), CSUF New Music Festival, Voice in the 21st Century (Fullerton, USA), SSSP (Leicester, UK, June 2013) and Toronto Electroacoustic Symposium (Toronto, August 2013), as well as several performances in Sweden (2013–2014). Girilal Baars is a composer, vocalist and performer based in Uppsala, Sweden. His main musical concern is the meeting point of old vocal traditional music and contemporary electroacoustic music. This is also the topic of his PhD research in composition at the University of Huddersfield. The provisional title of the research is “Ballads and Ohms.”

Girilal’s composition “Litanies in Zero Kelvin” represented Sweden at the 2009 Nordic Music Days. In 2010 he wrote and staged an opera for two voices based on Karin Boye’s novel “Kallocain.” Apart from regular concerts and projects in Sweden, in 2013-14 his work has been selected for performances as far apart as Toronto, Belfast, Perth, Tanjung Malim (Malaysia), Kaunas (Lithuania), Vaasa (Finland), Guadalajara (Mexico), Lisbon, Ghent, New York and Turin.

Thomas Bjelkeborn – Landing in Berlin

The title and the work is inspired by and refers to my first visit to Berlin and there is a really confused flight to Berlin added as a spice to the mix. The music was composed in may 2014 in Studio Alpha at VICC Visby international Composer Center supported by a grant from The Swedish Society of Composers. It was first performed at a Metanast concerts at Mediacity UK in Manchester.

Thomas Bjelkeborn is a composer, musician and sound artist. He is one of the initiators of IDKA, PUSH Festival Gävle and Club Lamour Fylkingen Stockholm. He often collaborates with international institutions and internationally active composer / musician at residences in UK, Spain, France and other countries, and tours frequently in Europe with live electronic ensemble SQ / Sound Quartet.

Ilari Hongisto – Taivas alla

Taivas alla (2012) has been composed of sounds of insects from around the world. The piece is part of a trilogy – the other parts are composed of sounds of birds and frogs. Together they form the nature sound trilogy called Luonnos. The names are very polysemous Finnish names: “taivas alla” can mean ”that the sky is under you when flying” as well as “what is it like to live without a home”. “Luonnos” means “a sketch”, but is also strongly associated with the word “nature” although with the grammatical case ”in nature”.

The insect sounds comprise mainly sounds from different kinds of crickets, a total of around 50 sound sources. Since the sounds themselves didn’t offer a very wide range of basic sound material, effects, programming and sound manipulation are widely used in order to guarantee the attractiveness of the piece. The insects are making music in the piece together and form different kinds of small insect ensembles; a large part of the piece has been composed using extracts containing aleatoric polyrhythms. Here one can speak of a circumstance of a rhythmic, free counterpoint, produced by a sequencer program, in which different rhythms are forced into simultaneous action, the goal being to form new, interesting and often also random combinations. In 2012 Taivas alla won first prize in European Erasmus Composition Competition of the University Paris VIII. Ilari Hongisto (1978) is a Finnish composer. Hongisto did his masters degree in musicology and Finnish language in University of Turku in 2006. He has also studied percussions and drums in Conservatory of Turku, graduating in 2006. In 2010 Hongisto graduated as a composer from Art Academy of Turku. Hongisto did his Master of Music degree in Royal College of Music in Stockholm in 2012 after studies in electroacoustic compostition.

Hongisto is a member of the Finnish Composers Society. His works have had success in different contests and he has represented Finland in Ung Nordisk Musikfestival in 2008 and 2010.

Thommy Wahlström – 2010 invention for ea no. 27

  • Subtitle I: Night and Day.
  • Subtitle II (main) : Excerpts and fork from the battle of Nancy 1477.
  • Subtitle III: Sleeping by the creek. The sounds are changing at night, of many reasons of course.

Tvådelat stycke där delarna skiljer sig åt i karaktär men ändå korresponderar med varandra genom tiden. Tidens ögla rör sig långsammare än tiden.

Thommy Wahlström, tonsättare och musiker, bor i Uppsala. Utbildad på Musikhögskolan i Stockholm. Verksam som musiker i improviserad musik.

Magnus Johansson – Regn

”Regn” är den andra delen av ”Svit för kinesiskt parasoll, regn och plåteko”. Sviten är en algoritmisk komposition sprungen ur den japanska versformen renku (”länkad vers”). Ur ett ljudmaterial bestående av regn och vatten framväxer i denna svitens andra del en betraktelse över ett sensommarregn.

Magnus Johansson är programmerare och tonsättare aktiv på EMS (Elektronmusikstudion) i Stockholm. Hans musik tar ofta sin utgångspunkt i ljud från vår omvärld, som slipas och formas med fria och öppna mjukvaruverktyg till nya musikaliska gestaltningar.

Helene Hedsund – Under Eiffeltornet (den 9/12 2013)

Alla ljud i ”Under Eiffeltornet” härrör från en inspelad Yamaha-flygel. En del av ljuden har manipulerats på så sätt att deras spektrum vänts upp och ner eller ut och in. Genom hela stycket löper en fältinspelning gjord under Eiffeltornet den 9:e december 2013. Inspelningen är 71 sekunder lång och innehåller ljud från folk som pratar, barn som leker, fågelsång, byggplatsbuller och ett utryckningsfordons sirén. I stycket används fältinspelningens sonogram som ett filter på flygeln. Originalinspelningen hörs aldrig direkt utan den ”spelas” av flygeln, utsträckt i tiden till hela styckets längd: 12.09. Helene Hedsund är tonsättare, aktiv på EMS (Elektronmusikstudion) i Stockholm sedan 1994. Jag har en bakgrund som programmerare, musikvetare och som musiker i olika depprockband. För närvarande doktorerar jag i elektroakustisk komposition vid University of Birmingham.

David Granström – Cortex

Ambisonic 8-channel version. A study in the perception of time and pitch-space.

David Granström (1987) composes electronic music with focus on reduction, sonority and aural space. His music is often described as tranquil and gloomy. In recent years a focus on sound spatialization techniques, in particular Ambisonics, has been an important area of his music. He works mostly with synthesized source material moulded into shape by algorithmic processes, exploring slow transformations over time.

Mer info: soundcloud.com/david-granstrom

Sten-Olof Hellström – In My Own Words

In My Own Words är en utforskning av händelsehorisonter, transformationer och brytpunkter i tid och rum. Jag vill undersöka förhållandet mellan det stora och det lilla, mellan det extremt långsamma och det hypersnabba. In My Own Words handlar framför allt om två saker övergångar mellan olika tillstånd och relationen mellan mikrokosmos och makrokosmos. Sten-Olof Hellström, professionell kompositör sedan 1983. PhD i komposition, University of Huddersfield, UK 2013 Master of Music, University of East Anglia, UK 1990. Sten-Olof Hellström komponerar framför allt elektroakustisk musik och hans verk har framförts på festivaler, konserter, radiosändningar över hela världen. Sten-Olof är också verksam som perforera av live EAM, både på egen hand och som medlem i olika ensembler ex.v. HR (med Ann Rosén), As Good As It Gets (med Lars Bröndum) och Hellström och Bowers(med John M Bowers).

Joshua Horsley – Were

A rework of my previous composition Sedemus (2012), Were (2014) seeks to reflect a shift in engagement with this, and other previous compositions. I (like many others) sometimes reflect upon my compositions as encompassing successive now-points in time and space but in doing so, give these “nows” as present to no-one; denying their temporal character, and reducing ideas to resoluteness in totality whereby temporality is handed to space. Rather as the compositional snowball rolls and accumulates, perhaps those flakes of Sedemus find their way from within, to the surface again. Were finds the sonic uglies of Sedemus and lets them be.

Joshua Horsley is an artist/ composer from England, UK. Finding congruence with his current Doctoral pursuits, Joshua’s primary creative outputs concern the philosophical investigation of temporality within composition, with additional interests embedded in the musical address of Object Reality and subjective realities. Joshua is an Associate Lecturer at the University of Central Lancashire (UK).

James Andean – Between the leaves

Between the leaves (2012) began when an output error turned John Cage reciting a series of small stories into a dense tapestry of noise; a fitting tribute, perhaps, for a piece created in the centenary of Cage’s birth. The work presents a foreground of clicking gestures – every one following the same trajectory, yet every one unique, with subtle differences in timbre, velocity, and so on – layered and sequenced to provide a balance between monotonous repetition and detailed counterpoint. Behind this foreground layer is a soundscape struggling to be heard, sometimes masked by the mechanical foreground, sometimes spilling forward with a burst, cry, or distant wail. Formally speaking, the piece slows to a halt at about the two-thirds mark, and then turns back on itself: the click trajectory changes direction, and we move back through the piece in reverse, gaining speed as we go, to finish where we began.

James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including electroacoustic composition and performance, improvisation, sound installation, and sound recording. He is a founding member of improvisation and new music quartet Rank Ensemble and interdisciplinary improvisation ensemble The Tuesday Group, and one half of audiovisual performance art duo Plucié/DesAndes. He has performed throughout Europe and North America, and his works have been presented around the world. He is a lecturer at the Centre for Music & Technology of the Sibelius Academy/University of the Arts Helsinki.