ICST-Kompositionsstudio

ICST Ascolta Akusmatische Hoerstunde

2024-11-16T13:38:10.947000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Akusmatische Musik und die mit ihr verbundene Aufführungspraxis zielt auf eine Situation fokussierten Hörens, indem sie die Mittel der Klangerzeugung im Unsichtbaren hält und visuelle Reize weitgehend ausschaltet.

Das ICST verfügt in seinem Archiv über zahlreiche historische Stücke aus dieser Tradition und fördert die Entstehung neuer akusmatischer Werke im Rahmen von künstlerischen Residenzen.

Die Konzertreihe Ascolta – Akusmatische Hörstunde präsentiert Werke neueren und älteren Datums, die im ICST-Kompositionsstudio

(3.D02, Ebene 3, Toni-Areal) gespielt werden.

Termine (HS) 2024	Topic	Date	Time	Raum
#13 ascolta Akusmatische Hörstunde	Listen twice	17.12.2024	18:00	3.D02, Ebene 3
#12 ascolta Akusmatische Hörstunde	Porträt Georg Katzer	22.10.2024	18:00	3.D02, Ebene 3
#11 ascolta Akusmatische Hörstunde	Porträt Mario Mary	11.06.2024	18:00	3.D02, Ebene 3
#10 ascolta Akusmatische Hörstunde	The Composer, Herself	19.03.2024	18:00	3.D02, Ebene 3

Termine (HS) 2023	Topic	Date	Time	Raum
#09 ascolta acousmatic listening lesseon	Hans Tutschku: *Remembering Japan*	05.12.2023	18:00	3.D02, Ebene 3
#08 ascolta acousmatic listening lesseon	Mesias Maiguashca: *La Canción de la Tierra*	24.10.2023	18:00	3.D02, Ebene 3

Termine (FS) 2023	Topic	Date	Time	Raum
#07 ascolta acousmatic listening lesson	6 x 7	23.05.2023	18:00	3.D02, Ebene 3
#06 ascolta acousmatic listening lesson	Zbigniew Karkowski (Polen/Japan)	04.04.2023	18:00	3.D02, Ebene 3
#05 ascolta acousmatic listening lesson	Field-Recordings & Soundscapes	14.03.2023	18:00	3.D02, Ebene 3

Termine (HS) 2022	Topic	Date	Time	Raum
#04 ascolta acousmatic listening lesson	Glocken	13.12.2022	18:00	3.D02, Ebene 3
#03 ascolta acousmatic listening lesson	GRANULAR	01.11.2022	18:00	3.D02, Ebene 3
#02 ascolta acousmatic listening lesson	Gerald Bennett	04.10.2022	18:00	3.D02, Ebene 3

Termine (HS) 2019	Topic	Date	Time	Raum
#01 ascolta acousmatic listening lesson	Jean-Claude Risset	26.11.2019	18:00	3.D02, Ebene 3

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#13 ascolta Akusmatische Hörstunde

2024-11-13T16:21:52.837000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Listening twice

Experimental

17.12.2024, 18:00

Toni-Areal, Kompositionsstudio 3.D02, Ebene 3, Pfingstweidstrasse 96, Zürich

Eintritt frei

The title of this audio lesson is ‘Listening Twice.’

Based on the empirical research ‘Performance and storage of multi-channel content in an immersive audio format,’ I would like to design a slightly different listening session. Listening twice means listening to a 2-channel piece in its original form and then interpreting it in a new immersive format.

These two audio formats can thus be compared and discussed. So, this is a somewhat experimental listening session at the end of the year.

#12 ascolta Akusmatische Hörstunde

2024-10-22T11:52:23.428000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

Georg Katzer

Konzert

22.10.2024, 18:00

Toni-Areal, Kompositionsstudio 3.D02, Ebene 3, Pfingstweidstrasse 96, Zürich

Eintritt frei

Programm:

Steinelied 2

2010

10'

Notes:

Steinelied 2

In a cloud chamber, ionising radiation leaves a condensation trail with tiny water droplets, thus making the particle ‘visible’. Likewise, the ‘stones’, namely the silicon crystals of the computer, leave small ‘droplet-shaped’ sound events as they rush through the time-tone space in the computer I programmed.

Between the mostly impulsive sounds, a short tonal structure emerges several times, as if from a distance, perforated by the impulsive sounds.

It is reminiscent of a scent ‘from distant planets’, that of a bygone tonal music. In any case, it was just as welcome to me as the sometimes ‘dirty sounds’, which I did not try to embellish. And everything is shrouded in a ‘blue fog’.

The piece is not composed with a climax in mind; rather, it remains static, revolving around itself, almost meditative.

2010, composer's studio

Notes:

Steinelied 2 2010In einer Nebelkammer hinterlässt eine ionisierende Strahlung einen Kondensstreifen mit winzigen Wassertröpfchen und macht so das Teilchen "sichtbar". Ebenso hinterlassen die "Steine", nämlich die Siliziumkristalle des Computers kleine "tröpfchenförmige" Klangereignisse beim Durcheilen des Zeit-Tonraumes in dem von mir programmierten Computer. Zwischen den meist impulshaften Klängen taucht wie „aus der Ferne" mehrmals ein kurzes tonales Gebilde auf, von den Impulsklängen wie durchlöchert. Erinnerung an einen Duft „von fernen Planeten", den einer vergangenen tonalen Musik. Es war mir jedenfalls ebenso willkommen wie die z.T. „schmutzigen Klänge", die ich nicht versucht habe zu schönen. Und alles ist in einen „blauen Nebel" gehüllt. Das Stück ist nicht auf Höhepunkte hin komponiert, es bleibt vielmehr statisch, in sich selbst kreisend, fast meditativ.

2010, Studio des Komponisten

Preußisch Blau. Tagtraum. Erinnerung

2008

12'26''

Notes:

Like the deep blue of Yves Klein, my little clouds, which swim through my mind between waking and sleeping, with memories of those years in that city, in that bygone country. With the blue clouds come back the images, the pale reproductions of which spread in my subconscious, turn insistently around each other and bore themselves into my brain. But: the film is running backwards. The contours fade, at the end only blue, Prussian blue, Berlin blue.

The piece is also a reminder of a bygone technology with room-filling devices, space-consuming tape loops and the eternal struggle with noise. So in the piece analogue and digital sounds and signals mix.

The colouring agent was given the name Prussian Blue in the 18th century because it was used primarily to dye the Prussian uniform coats.

Studio GMEB, Bourges 1979/Studio of the composer 2008

Notes:

Wie das satte Blau von Ives Klein meine Wölkchen, die zwischen wachen und schlafen durch den Kopf schwimmen mit den Erinnerungen an jene Jahre in dieser Stadt, in jenem vergangenen Land. Mit den blauen Wolken kommen die Bilder zurück, deren blasse Repros, die sich breit machen in meinem Halbbewußtsein, die sich ostinat umeinander drehen und sich unabweisbar ins Gehirn bohren. Doch: Der Film läuft rückwärts. Es blassen die Konturen, am Ende nur Blau, Preußisch Blau, Berliner Blau.

Das Stück ist eine Erinnerung auch an eine vergangene Technik mit zimmer-füllenden Geräten, raumgreifenden Bandschleifen und dem ewigen Kampf mit dem Rauschen. So mischen sich in dem Stück analoge und digitale Klänge und Signale.

Den Namen Preußisch Blau erhielt der Farbstoff im 18. Jahrhundert, weil er vor allem zum Färben der preußischen Uniformröcke benutzt wurde.

Studio GMEB, Bourges 1979/Studio des Komponisten 2008

AideMemoire

1985

14'30''

Notes:

In addition to entertainment, tape music can also serve the larger goal of documentation, either intact, as in Luc Ferrari's rural pastorals, or staged, as in Katzer's portrait of the horrific rise of Nazi intolerance. Katzer's collage, created at GDR radio, uses Nazi speeches, mass scenes and historical music and was put together for broadcast on the 50th anniversary of Hitler's rise to power.

The surface noise of the 78s is an integral element of the composition, telling us that the presented evidence is historical, but the danger is very present. Those who want to avoid devaluing terms such as equality and freedom in pithy pathos should pay attention to how cautiously and critically Georg Katzer addresses and sings about them.

Notes:

Neben der Unterhaltung kann Tonbandmusik auch dem größeren Ziel der Dokumentation dienen, entweder intakt, wie in den ländlichen Pastoralen von Luc Ferrari, oder inszeniert, wie in Katzers Porträt des entsetzlichen Aufstiegs der Nazi-Intoleranz. Katzers beim DDR-Rundfunk entstandene Collage verwendet Nazi-Reden, Massenszenen und historische Musik und wurde für die Ausstrahlung am 50. Jahrestag von Hitlers Machtübernahme zusammengestellt.

Das Oberflächenrauschen der 78er ein integrales Element der Komposition, das uns sagt, dass die präsentierten Beweise historisch sind, aber die Gefahr ist sehr gegenwärtig. Wer es vermeiden will, Begriffe wie Gleichheit und Freiheit in markigem Pathos zu entwerten, der sollte darauf achten, wie behutsam und kritisch Georg Katzer sie anspricht und besingt.

"Les paysages fleurissants" (Die blühenden Landschaften)

2000

12'30''

Notes:

The troubles of the beginning, the constant failure, the falling back into beautiful melancholy, resignation, silence, the musical signals evaporate in the noise.

The short piece is made entirely from two familiar noises and is thus in the tradition of musique concrète.

The piece was created at a time when there was not yet much to be seen of the ‘blooming landscapes’.

2000, Studio GMEB Bourses

Notes:

Die Mühen des Beginnes, das ständige Scheitern, das Zurückfallen in die schöne Melancholie, Resignation, Schweigen, die musikalischen Signale verflüchtigen sich im Rauschen. Das kurze Stück ist ganz aus zwei jedem bekannten Geräuschen gewonnen und steht also in der Tradition der musique concrête.Das Stück entstand zu einer Zeit als von den "blühenden Landschaften" noch nicht viel zu sehen war.

2000, Studio GMEB Bourses

Steinelied 1

1984/1988

11:03

Notes:

‘Steine-Lied’ is a computer composition. A mainframe computer, equipped with a specific program package (a VAX with the program "Chant" developed at

IRCAM / Paris), calculated musical orders and sounds (based on prime number ratios) according to the composer's specifications and also made them sound.

The title means that it is the stones, the silicon crystals, that sing, as if they wanted to become subjects rather than objects, living rather than dead matter.

In 1984, I received an invitation to the EMS studio in Stockholm and produced my first computer composition there, using only synthetic sounds.

A special feature of the piece is that I only used frequencies that represent themselves in prime numbers (with the exception of a tonal section in just intonation). The title refers to the material of the chips, silicon, the most abundant element in our earth's mantle, and to the attempt to make the stones, i.e. the chips, sing.

At that time, programming was still extremely laborious and waiting for the sound results was exhausting, so I was able to work on a string quartet ‘on the side’.

In the years that followed, I used the experience I had gained there to develop a computer programme that I had developed myself, a self-organising compositional process that generates musical sequences based on controlled randomness. This resulted in Steinelied 2 in 2010. From then on, the composer's work consisted of selecting from the recorded sounds and composing them.

Quelle: EMDocu (erstellt: 25.08.1993 Source: Ruschkowski-Kartei 1989)

Notes:

„Steine-Lied" ist eine Computer-Komposition. Ein Großrechner, ausgerüstet mit einem bestimmten Programm-Paket (es war eine VAX mit dem im IRCAM / Paris entwickelten Programm „Chant") berechnete nach der Vorgabe des Komponisten musikalische Ordnungen und Klänge (auf der Grundlage von Primzahl-Verhältnissen) und bringt diese auch zum Klingen.

Der Titel will sagen, es sind die Steine, also die Silizium-Kristalle, welche singen, so als ob sie von Objekten zu Subjekten, von toter zu lebender Materie werden wollten.

Im Jahre 1984 bekam ich eine Einladung an das Studio EMS in Stockholm und produzierte dort meine erste Computerkomposition, in der ich ausschließlich synthetische Klänge verwendete. Eine Besonderheit des Stücks besteht darin, dass ich als Frequenzen (mit der Ausnahme eines tonalen Abschnitts in reiner Stimmung) nur solche verwendete, die sich in Primzahlen repräsentieren. Der Titel verweist auf das Material der Chips, das Silizium, das häufigste Element unseres Erdmantels und meint den Versuch, die Steine, also die Chips, zum Singen zu bringen. Die Programmierung war damals noch außerordentlich mühsam und das Warten auf die Klangergebnisse zermürbend, sodass ich „nebenher" ein Streichquartett konzipieren konnte.

In den darauffolgenden Jahren habe ich auf der Grundlage der dort gemachten Erfahrungen mit einem von mir entwickelten Computerprogramm ein sich selbst organisierendes Kompositionsverfahren entwickelt, das auf der Grundlage einer gesteuerten Aleatorik musikalische Abläufe generiert. Daraus entstand 2010 Steinelied 2. Die Arbeit des Komponisten bestand nunmehr darin, aus den aufgezeichneten Klängen eine Auswahl zu treffen und sie zu com-ponieren.

Quelle: EMDocu (erstellt: 25.08.1993 Source: Ruschkowski-Kartei 1989)

Georg Katzer, 1935 in Niederschlesien geboren und 2019 in Zeuthen gestorben, gilt als einer der bedeuteten Komponisten der ostdeutschen Schule. Katzer, der Meisterschüler von Hanns Eisler war, hinterliess ein umfangreiches Oeuvre an Orchester-, Instrumental- und Filmmusik sowie Hörspiele. Dieses Porträt widmet sich Georg Katzer als Pionier der elektroakustischen Musik.

1978 wurde Katzer zum Mitglied der Akademie der Künste in Ostberlin gewählt. 1982 gründete er das der Musikabteilung der Akademie der Künste angegliederte Studio für Elektroakustische Musik "Studio für Elektroakustische Musik", dessen künstlerischer Leiter er bis 2005 war.

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Dimitris Savva

2024-07-16T06:56:32.121000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

Dimitris Savva is an electroacoustic music composer, live-electronics performer, researcher, and educator. His works have been featured in 95 international music festivals, including The Ars Electronica Forum Wallis 2024, Matera 2024-ARTESCIENZA 2024, In Sonic 2017: Immersive Future [ZKM], ICMC 2014 [Αθήνα] and New York Electroacoustic Music Festival 2021. His compositions have won prizes in competitions like Metamorphoses 2012, 2014, 2018, and Iannis Xenakis 2018. Ten of his works are published on collective records, such as Metamorphoses and CIME 2020. As a performer, he has participated in ensembles such as asabe and solo performances including "Watering" and "Black Watering."

Homepage: https://www.dimitris-savva.com/

Project Proposal 2024

In response to this year’s residency theme, 'Spatial Sound Synthesis,' I propose creating an electroacoustic music composition. This composition will have two primary objectives:

• Firstly, it will delve into synthetic sound by extracting spectral elements from recordings and then re-composing and recontextualizing them within the creative process.

• Secondly, it will explore the concept of space as a form that can be shaped and designed by establishing both timbral qualities and causal relationships among the various sound components integrated into the composition.

The work will build upon the new compositional direction I began pursuing this year, which involves the exploration and experimentation with the spectral extraction of sonic elements from recorded sounds at macro, micro, and nano levels in both time and frequency domains. These extracted elements are then re-composed and recontextualized within the composition process. This is achieved through the experimentation with various structural relationships that enable their coexistence, and by applying a range of sonic manipulation and transformative processes.

The first work that explores this direction, entitled 'tranglitchuilizer_sabe_28523,' utilizes spectral extracts from a 10-second segment taken from a live-electronics performance co-created with the Asabe ensemble in Corfu, Greece. This work seeks to achieve the previously mentioned objectives. In its first half, it employs simple mathematical processes, notably the Fibonacci series and the golden section, to partly define the structure. These mathematical processes determine the number of gestures in each section and the timing between each gesture and between each part. In the second half, these defining mathematical processes are abandoned, allowing for a more open and uncontrolled approach to structuring and fostering a dialogue between controlled and non-controlled elements.

The work was originally composed in stereo but later evolved into a 5th order ambisonic composition. This transformation occurred during the intensive two-week 'Focus' ambisonic summer school-residency organized by the Phonon crew in Ústí nad Labem, Czechia. Utilizing the two OTTOsonics 24-channel systems set up for the residency, and after dividing the composition into various stems based on gestures and textures, I spatialized and remixed the work into a 5th order ambisonic format.

Continuing in this new direction within my compositional practice and drawing upon the experience gained from working with ambisonics, I intend to delve into the intersection of sound synthesis and sound spatialization, as outlined in the residency call. In alignment with the previously stated objectives, my aim is to experiment with the use of spectrally extracted sounds from various recordings. In this composition, while recomposing and recontextualizing these sounds, I aspire to explore the concept of space as a form. This exploration entails the creation of spatial forms and the establishment of causal and structural spatial connections among the materials.

Specifically, 'causal relation' entails experimenting with how sound materials interact with space. For instance, a loud gesture might trigger a change in the spatial perception, where the response to the gesture isn't perceived as another sound localized or diffused in space but rather as a sound that embodies the space itself.

Likewise, in terms of space and form, an example of experimentation involves manipulating the timbre of continuous textures by highlighting or altering different frequency bands depending on the texture's location in space. For instance, this manipulation could result in a texture that moves in cycles, with high frequencies highlighted when it's in the frontal perspective and low frequencies highlighted when it's in the rear. Another example is the structural spatial development of sounds gradually emerging from a narrow localization and progressively expanding to fill the entire sphere. This creates the impression of a living organism that evolves and expands over time.

In conclusion, this project represents an exciting journey into the realm of 'Spatial Sound Synthesis.' It builds upon my evolving compositional direction and the valuable experience gained through ambisonic exploration. By merging sound synthesis and sound spatialization, this project aims to breathe life into the concept of space as a form. Through experimentation, I endeavor to create a composition that transcends the boundaries of my musical language, offering listeners a new immersive auditory experience. With careful planning and dedicated studio time, I look forward to realizing this vision during the residency.

Vilbjørg Broch

2024-06-21T08:01:48.235000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

ICST Artist in Residents 24.06.-14.7.2024 (Spatial Audio Synthesis Residency)

Born in Denmark 1967. I returned to Denmark in 2019 after almost 30 years in Amsterdam, The Netherlands. Studied dance and improvisation at the SNDO Amsterdam. Studied classical voice with coloratura soprano Marianne Blok for more than a decade. I have worked in multimedia projects of all sorts and sizes over the past 30 years. For a large part autodidact in mathematics, programming and algorithmic composition. My studies of pure mathematics have been quite systematic over the past 20 years, and are ongoing. Specific interests go towards algebra, algebraic geometry and group theory. The later years I have had many presentations of computer music works at international conferences. The work with Higher Order Ambisonics / spatial audio – has been a natural extension of the interest in geometry. The work has developed thanks to working periods at CCRMA Stanford, IEM Graz, NOTAM Oslo, EMS Stockholm.

Vilbjørg Broch:

This work will arise from and tailor itself to the actual sound-space, and to the speaker layout on which it is performed. The work takes as input a recording of the ambient noise in the space and it takes as well the coordinates and radii of the speaker layout. The geometry of the setup will be considered a polytope which is then reflected mathematically 1 or more times into a higher dimensional geometric space. The total structure will, model a Digital Wave Guide Mesh (DWGM), and there will be a variety of possibilities for how to create the structure. This structure will determine spatialization, as well as it will have local instrumental qualities in the direction of the traditional Karplus-Strong idea. The mesh can be rotated and transformed separately in different subspaces / different dimensions. The ambient recording will be input to the DWGM and it will also through algorithmic mapping serve to control various time flow aspects.

The aim is to create a work which is harmonically scaled to the actual setup as well as it will be adding a compositional aspect which is fed, so to say, by the space itself. Harmonic material will be scaled / tuned to real proportions, using a measure for the speed of sound, to determine wavelength in relations to the actual sizes. Interference fields and effects will be considered and tested by listening. The last topic probably having a close to chaotic complexity, but a discussion would be very interesting.

Link: https://frekvensverden.dk/contact_about.html

#11 ascolta Akusmatische Hörstunde

2024-05-06T08:56:34.747000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

Mario Mary, portrait

Konzert

11.06.2024, 18:00

Toni-Areal, Kompositionsstudio 3.D02, Ebene 3, Pfingstweidstrasse 96, Zürich

Eintritt frei

Programm:

2015 Polyphonic philosophy pièce électroacoustique en 8 pistes. [ 10' 43'']

Commande de l'ICST de Zurich, Suisse. Création à l'Université de Zurich en novembre 2015

Continuing the aesthetic exploration about "electroacoustic orchestration" and "polyphony of space" of the previous works "Signes émergents" and "2261", the first section of this composition develops in the horizontal plane a concept that could be called "melody of sound objects". Here, polyphony and counterpoint of the musical discourse is interwoven through with small sound objects, creating polyphony and counterpoint taking advantage of the possibilities offered by the multitracks space with 8 tracks around public.

2018 Le sophistiqué son du Dasein pièce électroacoustique en 8 pistes. [ 17' ]

Commande de l'INA-GRM / Réalisée au studio du compositeur.

Création á la MPAA de Saint-Germain - Paris - France en octobre 2018

Second Prix Klang! 2019(France)

Mention d'honneur CIME 2019 (France)

This music is concretized through personal techniques as well as reflective work to express electroacoustic art and today's world. In this piece I have put special interest in the quality of the sound materials, essential essence of electroacoustic art. And I have also given special importance to the musical discourse that makes us go through the different sections of the piece in a fluid way.

2022 Towards the Morondanga Galaxy pièce électroacoustique en 8 pistes. [ 10' ]

Réalisée au studio du compositeur.

This piece is inspired by the idea of a trip to an imaginary galaxy. The electroacoustic sounds suggest sounds inside the spaceship and illustrate the various events she goes through on her journey. The cosmic space and the space of the electroacoustic composition merge in the musical discourse.

2023 Pedro en su laberinto pièce électroacoustique en 8 pistes. [ 10' 10'']

Création le 21 août 2023 au FIME - ArtHaus Center - Buenos Aires - Argentine. Réalisée au studio du compositeur.

Distinction CIME 2023 (Grèce)

This composition is a proposal with a high density of sound materials and few breaths. The work displays an indefatigable energy through an articulate and vital polyphonic discourse. The multiple trajectories and sound planes generate a rich and changing acoustic space around the listener. All this complexity could be linked to life itself, in which, without realizing it, we progressively create our own labyrinths and the terrains where our deepest joys and conflicts develop.

Mario MARY

An Argentine composer born April 25, 1961 in Buenos Aires.

After gaining a diploma in composition at the University of La Plata in Argentina, Mario Mary continued his training at the GRM, the Paris Conservatory and Ircam. He obtained a doctorate in the aesthetics, science and technology of the arts, at the University of Paris VIII, where he taught computer-assisted composition (1996-2010).

A teacher of electro-acoustic composition at the Académie de Musique Prince Rainier III in Monaco, co-founder and artistic director of Monaco/Electroacoustique (international electro-acoustic music meetings), this teacher-researcher also lectures in Europe and South America.

Mario Mary composes mainly electro-acoustic works (Fuite en avant, premiered at Festival Synthèse, 2005 ; 2261, premiered at Radio France, 2009 ; Le sophistiqué son du Dasein, premiered at MPAA, 2018) but also chamber works with or without electro-acoustics (La orilla secreta for cello, piano, percussion and electro-acoustic sounds, premiered at Rencontres internationales de musique électroacoustique de Monaco, 2011 ; No sé, musical theater for mixed voices, premiered at Buenos Aires, 2014). He has also made experimental videos that relate to his works (Un souffle de vie, premiered at Radio France in 2006). Since the 1990s his work has been directed towards the concept of spatial polyphony (Signes émergents, an electro-acoustic piece commissioned by the GRM, 2003) and a technique of electro-acoustic orchestration (Double concerto for clarinet, violin and electro-acoustics, premiered by Ensemble orchestral Contemporain during Festival Manca, 2012).

Quelle: http://www.cdmc.asso.fr/en/ressources/compositeurs/biographies/mary-mario-marcelo-1961

Contact

2024-06-26T08:23:05.620000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

This is a work blog of ICST / ZHdK

Responsible

Name: Schütt Johannes

Department: DMU/ICST

Email : johannnes.schuett@zhdk.ch

#10 ascolta Akusmatische Hörstunde

2024-03-27T15:50:14.771000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

The Composer, Herself

Konzert

19.03.2024, 18:00

Toni-Areal, Kompositionsstudio 3.D02, Ebene 3, Pfingstweidstrasse 96, Zürich

Eintritt frei

Programm:

Natasha Barrett

Prince Prospero's Party [2005] 2nd order Ambisonics 16:00

One of the first pieces in Ambisonic second order was by Natasha Barrett as Artist in Residency 2005 at the HMT Zurich.

Natasha Barrett (1972) is a composer who explores new technologies and experimental approaches to sound in contemporary music, including concert works, public space sound-art installations, and multimedia interactive music. She is internationally renowned for her electroacoustic and acousmatic music and use of 3D sound technology in composition. Her work is commissioned and performed throughout the world and has received over 20 international awards, including the Nordic Council Music Prize, the Giga-Hertz Award (Germany), five first prizes, and the Euphonie D'Or in the Bourges International Electroacoustic Music Awards (France), two first prizes in the International Rostrum for electroacoustic music and most recently the Thomas Seelig Fixed Media Award for 2023. She collaborates with performers, visual artists, architects, and scientists and is active in performance, education, and research.

Link: http://www.natashabarrett.org/about.html

Beatriz Ferreyra

Huellas Entreveradas [2018] 14:40

8-CH played in Ambisonics

DEGEM (German Association of Electroacoustic Music) commissioned them. Traces and footprints cross, disappear, hide, become fluid, faint before the maze of memory, or perhaps during a hike through an unknown landscape.

Beatriz Ferreyra (geboren 1937 in Córdoba, Argentinien) steht seit 1963 an der Spitze der elektroakustischen Musikkomposition, als sie als Forschungsassistentin von Pierre Schaeffer zur Groupe de Recherches Musicales kam. Sie ist eine der wenigen noch aktiven Komponisten, die an den Anfängen von Schaeffers Theorien über Klangobjekte und reduzierte Hörtechniken beteiligt waren. In ihrer sechzigjährigen Karriere komponiert sie weiterhin Auftragswerke und tritt weltweit auf.

Link: https://beatrizferreyra.odexpo.com/

Judy Klein

The Wolves of Bays Mountain (1998)

Stereo-tape (21:00) neu interpretiert in Ambisonics 3D-Audio

Bays Mountain Park is a nature preserve in the mountains of Eastern Tennessee. During the 1990s, I made several trips to the park to record the wolves living there. In the piece, the wolves are heard much as I heard them myself, sometimes only footsteps away, and also transformed, such as in the realm of imagination, memory, and dream. For the composition, I used the Csound computer music language. All the sounds come from the recordings, in unaltered or slightly modified form and as source material in musical settings and transitions. The piece opens quietly (The beginning is barely audible.), with sounds derived from the recording of a winter chorus howl. Over time, the voices of the wolves become distinct. Two wolves bring the howling to an end with a sequence of short, antiphonal calls. In the middle sections, the recordings are virtually unedited. It's nearly spring. The wolves are heard in their environment, first in the early morning and then in the still of the late night. The howling in the final section is again from winter, the mating season. It ends with the love song of Kashtin, the pack's alpha female, and her majestic mate, Navarro, who died the following year and in whose memory the piece was written.

Judy Klein, a composer and sound freak, lives in New York. She was born on 14. April, 1943, in Chicago. She is an American composer and music educator. She founded the Computer Music Studio at New York University and served as its director in the 1980s. Her music is primarily acousmatic and includes works for the electronic medium, sound installations, music for theatre, and collaborations with visual artists.

Quelle [Wikipedia]

Link:https://en.wikipedia.org/wiki/Judy_Klein

Ernst van der Loo

2023-11-23T16:09:37.156000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Ernst van der Loo arbeitet als ICST Atist in Redidenz im Studio vom 13.11. bis 26.11.2023 im Kompositionsstudio.

Als Artist-in-Residence des Residency Programms „Spatial Sound Synthesis" arbeitet van der Loo im November 2023 während mehreren Wochen im ICST-Kompositionsstudio an einem neuen Werk für ambisonisches Lautsprecherdispositiv. Dabei hat er eine besondere Herangehensweise: Entgegen der gängigen Vorstellung, dass es vor allem um die Bewegung einzelner Klangquellen geht, liegt der Fokus seiner Arbeit zurzeit auf der statischen Platzierung verschiedener spektraler und klanglicher Elemente des Klangmaterials im räumlichen Feld. Er nennt dies "topografische timbrale Räumlichkeit".

Link: ernstvanderloo.com

#09 ascolta Akusmatische Hörstunde

2024-01-07T14:40:08.744000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

Hans Tutschku

ICST Artist in Residenz vom 31.01.2022 bis zum 13.2.2022.

Remembering Japan

INFO: https://tutschku.com/remembering-japan/

https://electrocd.com/en/album/6390/hans-tutschku/remembering-japan

Biography

Foto: Tony Rinaldo

Hans Tutschku is a composer of instrumental and electroacoustic music. In 1982 he joined the "Ensemble for intuitive music Weimar" and later studied theatre and composition in Berlin, Dresden, The Hague, Paris, and Birmingham. He collaborated in film, theatre and dance productions, and participated in concert cycles with Karlheinz Stockhausen. Since 2004 he directs the electroacoustic studios at Harvard University.

Improvisation with electronics has been a core activity over the past 35 years. He is the winner of several international competitions, among others: Hanns Eisler Preis, Bourges, CIMESP Sao Paulo, Prix Ars Electronica, Prix Noroit, Prix Musica Nova, ZKM Giga-Hertz, CIME ICEM and Klang!. In 2005 he received the culture prize of the city of Weimar.

Besides his regular courses at the university, he has taught international workshops for musicians and non-musicians on aspects of art appreciation, listening, creativity, composition, improvisation, live-electronics, and sound spatialization in more than 20 countries.

#08 ascolta Akusmatische Hörstunde

2023-10-15T13:57:43.984000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Art

Mesias Maiguashca

Artist in Residency am ICST: 2018 | 28.2. – 1.3.2019 | 25.4. – 26.4.2019 | 2020

La Canción de la Tierra

(eine Audiovisuelle Komposition 2017-2020)

Idee und Musik: Mesias Maiguashca,

Video: Carlos Poete.

Technik Audio-Ambisonics: Johannes Schütt.

Dieses Werk wird heute als 'Cinema pour l'oreille' ohne das Video gespielt!

Mesias Maiguashca

Born in Quito, Ecuador, the 24th of December, 1938, Mesías Maiguashca studied at the Conservatorio de Quito, the Eastman School of Music (Rochester, N.Y.), the Instituto di Tella (Buenos Aires) and at the Musikhochschule in Cologne. He realized compositions in the Studio for Electronic Music WDR (Cologne), the Centre Européen pour la Recherche Musicale (Metz), IRCAM (Paris), Acroe (Grenoble) and ZKM (Karlsruhe), and teached in Metz, Stuttgart, Karlsruhe, Basel, Sofía, Quito, Cuenca, Buenos Aires, Bogotá, Madrid, Barcelona, Györ y Szombathely (Hungary), Seoul (Corea) and his works were presented at the most important European festivals.Maiguashcas was professor for electronic music at the Musikhochschule Freiburg from 1990 until his retirement in 2004. Together with Roland Breitenfeld, he founded the K.O.Studio Freiburg in 1998, a private initiative for the practice of experimental music. He lives in Freiburg since 1996.

www.maiguashca.de

Das erste Mal, als ich DasLied von der Erde von Gustav Mahler (vor ungefähr 30 Jahren, als Studierender, bereits in Europa) hörte, beschloss ich, auch ein Lied von der Erde, una Canción de La Tierra zu komponieren. Selbstverständlich sollte meine Komposition anders klingen. Wir wissen, dass unsere Geschichte, die amerikanische Geschichte, nicht mit der „Entdeckung" und Eroberung seitens der Europäer anfängt. Wir wissen wohl, dass die Überlagerung der europäischen Kultur über die amerikanische Kultur diese an den Rand der Zerstörung und des Verschwindens brachte. Europäische Philosophie, Religion und Lebensformen wurden zur Norm des amerikanischen Lebens und in mehrerer Hinsicht sind sie das noch. Aber ich denke, dass eine spezifische Andinische Art, die Welt zu begreifen, existiert. Ich kann sie sicher nicht beschreiben, geschweige denn erklären. Kann man sie zum klingen bringen?

Die Komposition La Canción de la Tierra, für ein Ensemble von Andeninstrumenten, für ein Bläserensemble, einen Chor von 6 Frauen- und 6 Männern sowie zwei Gruppen von „Klangobjekten" aus Holz und Metall, die ich selbst entworfen habe, wurde 2013 in Quito uraufgeführt. Das Konzert konnte leider aufgrund der technischen und musikalischen Komplexität nicht zufriedenstellend dokumentiert werden. Ich habe deswegen als Erinnerung die hier beschriebene audiovisuelle Komposition entworfen. Sie ist nicht eine Dokumentation des Konzertes, sie ist ein autonomes Werk. Die Tonspur basiert weitgehend auf der Originalaufnahme des Konzerts. Die Version Audio mit Ambisonics-Technik wurde in dem Studio des ICST /ZHdK (Zürcher Hochschule der Künste), Tonmeister Johannes Schütt, realisiert.

La Canción de la Tierra besteht aus 14 canciones:

Canción del ser, canción del ruido cósmico, canción del hanan-pacha,

canción de la papa, canción del agua, canción del granizo,

canción de la brisa, canción del estar, canción del kay-pacha,

canción de los guacamayos, canción del uku-pacha canción del paisaje seco,

canción de la cordillera, canción del amanecer.

La Canción de la Tierraes una meditación

y un canto de homenaje y agradecimiento

a la Naturaleza, a la Madre Tierra, a la Pachamama.

Zitiert aus der Site von Mesias Maiguashca (2022)

Pratyay Raha

2023-07-07T12:43:07.328000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

ICST Artist in Residency: Pratyay Raha

Date: 03.07.2023 - 27.07.2023

Pratyay Raha is an Indian sound artist and composer working in the field of new media and acoustic ecology. For this residency, he proposes to create a compositional methodology prototype using concepts from critical theory (object oriented ontology) and ecoacoustics. He plans to use field recordings, audio programming, data sonification and ICST Ambisonics setup to make the prototype

Website: www.pratyayraha.com

<< ICST Artist in Residency

Sarah Duffy

2023-07-04T13:30:04.489000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

ICST Artist in Residency: Sarah Duffy

Date: 19.06.2023 - 02.07.2023

Sarah Duffy is an interdisciplinary artist based in London whose work spans performance, video, sound and installation. Duffy has repeatedly returned to the subject of the disembodied voice in her work - manipulating her own live voice, as well as experimenting with pre-recorded voices. She has often attempted to embody her research, including training to become a ventriloquist singer.

During the ICST residency, Sarah will be working on an ambisonic composition that will eventually form the basis of an immersive audio visual installation and an accompanying live performance. The piece uses a deepfake version of Sarah's voice to explore the unsettling qualities of ‘The Harvard Sentences’ - a mysterious group of phrases, developed in a secret psycho-acoustic laboratory at Harvard in the 1940s to test the audio fidelity of new military acoustic technology.

Link: https://www.sarahcduffy.co.uk/

Sarah Duffy concluded her ICST Residency with a small workshop/concert that included a presentation of her ideas for her work-in-progress, 3D-immersive installation, 'The Harvard Sentences'.

Sarah created five different spaces/rooms within her composition, that shift the listener between real and imaginary environments. The piece displays a great deal of sensitivity, captivating the listener as they are transported to each new space . We hope that her installation and performance will be realised for a public audience soon.

Friday, 30.06.2023 at 18:00 - 19:00

At the ICST Composition Studio (3D.02) Toni-Areal, Zurich

<< ICST Artist in Residency

Reaper Tips

2023-04-27T09:53:29.112000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Here I post contributions from me and others that may be interesting for you. (in work and will be added irregularly)

Reaper JSFX plugins you should definitely test (Tukan Studios).--> see here
Ambisonics Encoder and the GyroOSC (ios)

<< Tutorials Studiopraxis

Speaker Settings

2023-04-27T10:00:07.326000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

<< ICST Kompositionsstudio | Studio for Composition

#06 ascolta acousmatic listening lesson

2024-01-24T12:46:19.735000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Dienstag, 4. April 2023, 18.00 Uhr

ICST-Kompositionsstudio (3.D02, Ebene 3)

Toni-Areal, Pfingstweidstrasse 96, 8005 Zürich

Eintritt frei

Composer: Zbigniew Karkowski (Polen/Japan)

Title: _no name_

Dur: 60'

Description:

Zbigniew Karkowski (Polen/Japan)

The Polish composer Zbigniew Karkowski, who died all too soon in 2013 and lived in Japan, is and remains in a league of his own. In his almost elegiac pieces of micro-structured noise and rhythm settings, his entire visionary range comes to the fore, whether his pieces were created with a laptop or with electroacoustic means.

He studied composition at the National Academy of Music in Gothenburg, Sweden, aesthetics of modern music at the University of Gothenburg, and computer music at the Chalmers University of Technology. After completing his studies in Sweden, he studied sonology for a year at the Royal Conservatory of Music in The Hague, The Netherlands. For over 20 years, he was active in the field of experimental electronic music, composing pieces for a full orchestra, an opera, and several chamber music pieces.

In 2008 Zbigniew Karkowski was a guest at ICST and realized the piece 'No name' in Ambisonics. ICST performed this piece on Friday 03.10.2008 at the Walchenturm in Zurich. We can expect lively noise attacks and sizzling groans. His music is a timeless oeuvre, disturbing and soothing, eruptive and static.

Zbigniew Karkowski im Walchenturm Zürich (2008)

Links:

Zbigniew Karkowski - Wikipedia

https://www.zhdk.ch/veranstaltung/50898

<< ascolta Akusmatische Hörstunde

#05 ascolta acousmatic listening lesson

2024-01-24T12:46:07.391000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Philip Samartzis (ICST Artist in Residency 2019)

Atmospheres & Disturbances

Dur: 28.30

In 2019, Philip received a grant from the Swiss National Science Foundation to conduct research at the High Altitude Research Center on the Jungfraujoch. This is the first time either organization has supported an artist-researcher under their respective programs, demonstrating a growing awareness of art's ability to advocate for rare and endangered ecologies. Philip's high-alpine research has been featured on DW Radio, Swiss Info, and Les Temps news services and exhibited in China and Japan (2019) and Switzerland (2021). It was also featured in an exhibition titled Sampling the Future (2021) at NGV Australia.

This project is supported by Creative Victoria; High Altitude Research Station at Jungfraujoch and Gornergrat; Institute for Computer Music and Sound Technology at the ZhDK; RMIT School of Art; Swiss National Science Foundation

Wie der Klimawandel klingt - SWI swissinfo.ch

https://www.zhdk.ch/forschung/icst/kreation-artist-in-residence-1031

Cathy Lane (ICST Artist in Residency 2022)

The River goes on

Dur: 32'

Cathy Lane is an English composer, sound artist, and academic. Her work uses language, field recordings, and archives to explore aspects of our listening relationship with each other and the multiverse. She is currently focusing from a feminist perspective on how sound is connected to the past, our histories, our environment, and our collective and individual memories.

cathylane.co.uk

https://www.zhdk.ch/forschung/icst/kreation-artist-in-residence-1031

<< ascolta Akusmatische Hörstunde

ICST Studiopraxis Sessions

2024-10-09T12:00:10.214000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Studio practice for ICST & CAS Students

---

All information about ICST studio technology or the composition studio can be found here. Individual project support in the field of electroacoustic studio practice with Johannes Schütt.

---

Next Studiopraxis Session:

Zeit: Name:

10:00 - 11:00
11:00 - 12:00
13:00- 14:00
14:00 - 15:00
15:00 - 16:00
16:00 - 17:00

Can you coordinate with each other and send me the desired dates?

Please sign off each time if you are prevented! Thank you.

mailto: johannes.schuett@zhdk.ch

<< ICST Kompositionsstudio | Studiopraxis

#04 ascolta Akusmatische Hörstunde: Glocken

2023-10-15T13:42:46.305000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

'Ringing in' with the church bells of the Diessenhofen/TG Reformed Church.

It is mentioned for the first time in the document of 27.03.757.

Its main patron is St. Dionysius (1517 "Churches Sant Dionysius).

The five bells were cast in 1883 by the bell foundry Keller in Zurich.

and produce a pure B major chord.

Werner Geissberger 'Veni creator spiritus - Cantique de l'espérance'. (2007)

Duration: 21'

Paul Hindemith's Cantique de l'espérance 1953

Text: P. Claudel - performed at the Bachfest 1994.
reworked by Werner Geissberger in 2007 for the farewell concert in Zurich-Wollishofen
Remodeled again in 2014 into a combination of both versions: The vocal recordings from 1994 & 2007 are combined with the original electronic parts from 2007.
I owe the frequency-modulated composition work to the two-year Csound course with my friend and teacher, Prof. Gerald Bennett.

Jean-Claude Risset (1938 -2016) 'Resonant Sound Spaces' (2001-2002)

Duration: 15 minutes

Publisher: composer's edition

Commission: City of Basel

Program note

Spaces (Resonant Spaces) is a "mise en espace" of Resonant Soundscapes commissioned by the city of Basel in 2001 and dedicated to Gerald Bennett. The 8-track spatialized version was produced at the Groupe de Musique Expérimentale de Marseille (GMEM) using Laurent Pottier's Holophone spatialization system.

Jonathan Harvey (1939-2012) 'Mortuos plango, vivos voco' (1980)

Program note

This work reflects my experiences at Winchester Cathedral, where my son Dominique was Chorister from 1975 to 1980.

It is based on his voice and that of the great tenor bell.

This huge black bell with superhuman strength bears the inscription:

" Horas avolantes number mortuos plango: vivos ad pres voco ".

Ausläuten

I ring out the last Acoustic Listening Hour this year with the church bells of the Reformed Church Diessenhofen/TG.

The next Acoustic Listening Hour will take place next year.

I wish you peace and tranquility over the holidays and all the best for the new year, 2023!

<< ascolta Akusmatische Hörstunde

#01 ascolta - Akusmatische Hörstunde 2019

2024-01-07T14:37:45.306000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Jean-Cloude Risset (13.3.1938 - 21.11.2016)

Programm:

Songs 9:13
Octant 12:08
Sud I 9:42
Sud II 5:44
SUD III 8:02
Resonant 14:37

<< ascolta Akusmatische Hörstunde

#03 ascolta Akusmatische Hörstunde: GRANULAR

2023-05-08T15:44:11.776000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

ascolta – Akusmatische Hörstunde: GRANULAR

Nicos Stavropoulos, vom 12.1.2018 - 19.1.2018

Karst Grotto (2018)

Der Titel wurde aufgrund seiner onomatopoetischen Qualitäten und seiner direkten Bezugnahme auf landschaftliche Qualitäten ausgewählt deren Geologische Raumstrukturen und Prozesse reflektieren die Klangwelt der Arbeit. Die Aufnahmen der Ausgangsmaterialien wurden mit kleinen Elektret Mikrofonen in einer 5.1 Polyhymnia Pentagon Konfiguration realisiert.

Horacio Vaggione, ICST Artist in Residency 30.06.2015 – 05.07.2015

Gymel II (2015) electronic music for 8-track medium

Wir finden in dieser Arbeit Morphologie (Figuren, Texturen), die sich auf verschiedenen Granularitätsebenen manifestieren.

GYMEL II ist das Ergebnis eines Aufenthalts am ICST, Universität der Künste Zürich, im Juli 2015.

Vincent Cears, ICST Artist in Residency 6.04.2021 - 19.04.2021

A Year in Dark Tones (2021)

Live improvisation in Ambisonics (3rd-order). A Year in Dark Shades is the work I created using different spatial sound systems. For this piece I collaborated with a visual artist to create an immersive performance. During the ICST residency, I converted everything to Ambisonics using the ICST AmbisonicsPlugins!

'Improvisation I' and 'Improvisation II' are a live pre-recording during the residency at ICST.

Hans Tutschku, ICST Artist in Residency 3.1. – 15.1.2020 | 31.1. – 13.2.2022.

Remembering Japan (2020/22) Zyklus in 5 Teilen.

Wir hören: part 1: immersion 09:58 min

Danke für's Zuhören und einen schönen Abend noch.

Die #04 ascolta acousmatic listening lesson findet am 13.12.2022 um 18:00 statt.

<< ascolta Akusmatische Hörstunde

Cristiana Palandri 28.9.22 30.9.2022

2023-04-27T09:43:18.554000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

PALANDRI STAGE at ICST:

I created an electronic piece starting from a pictorial scheme/drawing. In the picture, each sound element is represented graphically with a shape, a color, and a position in paper space, which is two-dimensional. I want to transform the 2D position of the graphic elements into a 3D sonic component of the sound space, to find a correlation between the visual and sound elements. I realized a composition that can inspire a sound vision through hearing and, simultaneously, perceive sound as a sculptural element, coming from a drawing, in its diffusion in space.

<<ICST Artist in Residency

#02 ascolta – Akusmatische Hoerstunde: Gerald Bennett

2024-01-24T12:41:01.642000Z

Institute for Computer Music and Sound Technology

Dienstag, 4. Oktober 2022, 18.00 Uhr

ICST-Kompositionsstudio (3.D02, Ebene 3)

Toni-Areal, Pfingstweidstrasse 96, 8005 Zürich

Eintritt frei

Programm

Vêpres vénitiennes – Il dì s'appressa (1999)

Rainstick (1993)

Im Eismeer – ein Schumann-Stück für Tonband (1997)

Auf schwanker Halme Bogen (1985)

Un Madrigal gentile (2004)

Gerald Bennett, geboren 1942 in New Jersey (USA), studierte unter anderem an der Harvard University bei Robert Moevs und in Basel bei Klaus Huber und Pierre Boulez. 1967–76 war er Dozent für Musiktheorie am Basler Konservatorium, ab 1969 dessen Leiter. 1976–1981 stand er dem Département Diagonal am Pariser Institut de Recherche et Coordination Acoustique/Musique (IRCAM) vor, und ab 1993 war er Mitglied der Internationalen Akademie für elektroakustische Musik Bourges. Von 1981 bis zu seiner Pensionierung lehrte Gerald Bennett Musiktheorie und Komposition an der Hochschule für Musik Zürich. Gemeinsam mit Bruno Spoerri, Antonio Greco und Rainer Boesch gründete er 1985 das Schweizerische Zentrum für Computermusik(SZCM) und gemeinsam mit Daniel Fueter 2005 das ICST – Institute for Computer Music and Sound Technology.

Das Werk von Gerald Bennett umfasst Orchester-, Kammer- Vokalwerke in verschiedenen Besetzungen mit und ohne Elektronik sowie zahlreiche elektroakustische Stücke. Seine Kompositionen werden bei Edition Modern/Ricordi und Mnémosyne verlegt, Tonträger mit seinen Werken erschienen bei Wergo, Jecklin und Harmonia Mundi. Er ist Verfasser zahlreicher Publikationen, die bei Gallimard, Oxford University Press, Eulenburg, MIT Press u.a. erschienen sind.

Gerald Bennett

Aktuelle Informationen zu der Veranstaltung finden Sie hier.

Programmtexte:

Gerald Bennett: Vê pres vé nitiennes - Il dì s'appressa (1999)

"Il dì s'appressa" is part of a larger work (of course still unfinished): the "Venetian Vespers". The Venetian Vespers at San Marco were distinguished from the Roman Vespers by the richness of their music. This work takes the place of the ancient marian sung towards the end of the vespers. It is based on the first two lines of the last poem of Petrarch's "Canzoniere", a poem about death addressed to the Virgin: Il dì s'appresa e non puot' esser lunge, Sì corr' il temp e vola ...

"Il dì s'appressa" was commissioned by the International Institute of Electroa- coustic Music in Bourges, France, and realized in its studios in 1999.

Gerald Bennett: Rainstick (1993)

The rainstick is a ritual instrument of the Indians of Central and South America used to conjure rain. In this piece, the rainstick is used to conjure many different things, both real and imaginary (but not rain). One of the piece's principal ideas is the pas- sage from continuity to discontinuity. Of course, this movement can reflect and ex- press both a structural and an emotional trajectory.

"Rainstick" was commissioned by the Groupe de Musique Expérimentale de Bourges and was realized in their studios in 1993.

Im Eismeer – ein Schumann-Stück für Tonband (1997)

Auf schwanker Halme Bogen (1985)

Gerald BENNETT : Un Madrigal gentile (for tape alone)

"Un Madrigal gentile" is meant to be a piece of Commedia dell' arte. It was inspired by the madrigal comedy "Amfiparnaso" by Orazio Vecchi (1594) and begins where the «Amfiparnaso»'s narrator announces the Doctor's singing of a parody of the most famous madrigal of the 16th century, "Achor che col partire" by Cipriano da Rore. My piece, too, is a parody of the same madrigal, which can be heard again and again all the length of the piece. Cipriano's madrigal engenders many musical figures in my piece; each one is treated as a character from an imaginary Commedia dell'arte, exaggerated, made clownlike, clumsy or gratuitously brutal. The sentimental lovers or the madrigal accompany the piece from their impossible world, and frequently cheerful chaos reigns.

«Un Madrigal gentile» was commissioned by the French Ministry of Culture, realized at the IMEB in 2004/2005 and is dedicated to Françoise Barrière and Christian Clozier in grateful friendship.

The following texts will be heard:

Canta il Dottore un madrigal gentile

sotto'l balcon de la sua cara sposa

con voce soavissima e amorosa.

The doctor sings a gracious madrigal

under the balcony of his dear betrothed

in the sweetest loving voice.

(Enfants au Grand Guignol)

Attention! Attention!

(Children watching Punch and Judy)

Be careful! Be careful!

. . . tanto son dolci . . .

. . . how sweet are . . .

In the prologue of the «Amfiparnaso», the narrator tells us:

E la città dove si rappresenta

quest'opra è'l gran Teatro

del mondo, perch'ognun desìa d'urdirla.

Ma voi sappiat'intanto

che questo di cui parlo

spettacolo si mira con la mente,

dov'entra per l'orrecchie, e non per gl'occhi.

Però silenzio fatte,

e'n vece di vedere hora ascoltate.

And the City where this piece

plays is the great Theater

of the World, which everyone wishes to hear.

But nevertheless you should know

that the drama of which I speak

is seen only in the mind,

into which it enters through the ears and not the eyes.

Silence, then,

and rather than watching, now listen.

<< ascolta Akusmatische Hörstunde

Savannah Agger

2023-06-24T11:53:53.448000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

She will be working in the composition studio from 5-09-22 to 18-09-2022.

Savannah Agger is working on a composition using previous developed tools for spectral spatialisation created in "OM#", that she now experiments with in combination with ICSTs Ambisonic plugins.

OM#: https://cac-t-u-s.github.io

Previous work in OM#: https://hal.archives-ouvertes.fr/hal-01567629/document

www.savannahagger.com

<<ICST Artist in Residency

Terms of use

2023-04-27T10:00:24.746000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Regulations for the use of the ICST composition studio:

Do not eat or drink in the studio.
do not set up your own user accounts on the composition computer
no installation of own software & plugins (if needed, please contact support)
Do not move the 18-Ambisonics speakers as they have been precisely calibrated.
Please dismantle all modifications
No stock
Put instruments/music stands/special equipment away again.
Reset the audio matrix routing to 'standard.'
Set 'Ghielmetti' back to 'Standard'.
Turn off all equipment when leaving the studio.

Important.

The user data on the composition computer will be deleted.
Each user is responsible for the security of their own data. (Save to your own HD)
Please leave the studio in default settings when leaving!

New:

For night sessions, please note that the Studio components will automatically shut down at 03:00.
At 03:00, a warning appears on the 'Extron TouchPanel,' and with the confirmation to cancel, this process can be stopped.

These regulations are valid for the duration of the studio booking. For projects and AiR guests, the agreed regulations are valid.

The next studio user will thank them.

<< ICST Kompositionsstudio | Studio for Composition

ICST Kompositionsstudio Quick Start

2023-10-10T08:50:14.754000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Quick start for the ICST Komopositionsstudio Setting

AUDIO

Download the RME 'MADIface USB Driver' and follow the installer's instructions.

Attention!

You need a special manual for Apple (M1) Big Sur / Monterey: https://www.rme-audio.de/rme-treiber-macos.html.

After installing the RME Driver, you can connect your Mac/Pc with the ready USB-C cable.

VIDEO

Install the 'DisplayLink Support Tool Driver' for your Maschine. (Mac/Window/Linux)

After that, you can use the 'DisplayLink.app' to configure the curved screen as one or as two separate displays.

Tip:

To get the curved screen as a single large screen, you need to make an additional setting on your Mac.

1. system preferences -> mission control

2. deactivate the flag 'monitors use different spaces.'

3. This setting will only become active after a new login!

RME TotalMixer Setup for Multichannel:

Set the 'Fireface Settings‘ to this,

and the TotalMixer to this Setting.

<< ICST Kompositionsstudio | Studio for Composition

PureTools Video Converter

2022-09-03T12:24:00.371000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Download PDF

ICST Kompositionsstudio Regie

2024-10-08T09:43:09.525000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Overview of the direction in the ICST composition studio

Status April 2023

A: The LSB is the control panel for routing and controlling all audio components.

B: The Extron panel provides convenient management of all video and power components.

Hint: To dock in the composition studio with your own laptop, you need to consider a two steps!

Install the necessary drivers for audio & video:

- RME Madi USB Driver (Mac / Windows ) for the audio connection.

- DisplayLinker for the video connection

Please have a look at this link: Quick Start

The 'LSB panel' operates in two different levels (layouts):

LSB (First Layout)

Figure. shows LSB Layer 1

The picture shows the sources in the first LSB line; you can select the speaker settings directly in the second and third lines. If you choose 'ALL LS,' all speakers are available, and you can route them in RME Totalmixer or directly in the DAW.

To switch to the second layout with the 'Sources' --> press the 'Setings' button.

Figure. shows LSB Layer 2

Speaker Settings at the ICST-Kompositionsstudio:

Speaker Settings

LSB: Head-Amp setting:

LSB Troubleshooting

The Extron touchscreen panel for Video

Image shows as an example the 'video switching layout'.

Image shows the touch-panel layout 'light'.

Additional hubs and hardware are available behind the screen:

1. the "Extron Hub" behind the curved screen provides the interfaces for additional video connections as well as the Extron panel.
2. PureTools (converter) video VGA input for PC - laptop.
On the table is remote control for all settings of PureTools PT-SC-VGAHD

Documentation: PureTools PT-SC-VGAHD

Lake People (Stereo Balanced Amplifier) for direct connection of the Mac.

Lake People (Phone Amplifier) for 2x headphone monitoring.

The Targus USB-C Docking station can now connect two SSD HDs via USB-C in addition to the fixed connections.

Image: DisplayLink front/side

Image: DisplayLink Back

Image: DisplayLink Connectors

ATTENTION: To use the video features of the 'Targus Docking station' the 'DisplayLink' driver must be installed!

Download [DisplayLink] Driver!

The Apple Labtop can be easily connected via USB-C (3.2) or USB -A (3.2).

9. For Pc and its various connections, 'adapters' are ready.

Logitech Keyboard & Mouse

You can now conveniently switch the keyboard and mouse to their respective sources.

1 --> MacPro Studio

2 --> Laptop / Pc

<< ICST Kompositionsstudio | Studio for Composition

Downloads

2023-04-27T09:57:50.363000Z

RME-Drivers:

Please select the 'MADIface USB Driver' for your current architecture (PC/Mac) and operating system on the RME download page. Then follow the RME installation instructions.
https://rme-audio.de/de_madiface-usb.html

ICST Ambisonics Plugins
ICST Ambisonics Tools (please download the Ambisonics Tools over the 'Max Package Manager')
Studio Speaker-Settings (XML) & other helpers

Curved Screen Driver : https://www.synaptics.com/products/displaylink-graphics/downloads

<< ICST Kompositionsstudio | Studio for Composition

Nikos Stavropoulos

2023-05-15T11:24:21.546000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Nikos Stavropoulos

He will be working in the composition studio from 18.07.2022 to 1.08.2022.

Nikos Stavropoulos is working on a new acousmatic Higher Order Ambisonic work, continuing his research in the notion of aural microspace and intimacy in electroacoustic music. In this new work, he is investigating ways of processing HoA source material recorded with the OctoMic. The new work is expected to be premiered in the UK during the fall of 2022.

Nikos Stavropoulos (Athens, Greece, 1975) is a composer of predominantly acousmatic and mixed music. He read music at the University of Wales (Bangor, Wales, UK), where he studied composition with Andrew Lewis and completed a doctorate at the University of Sheffield (England, UK) under the supervision of Adrian Moore.

https://www.leedsbeckett.ac.uk/staff/dr-nikos-stavropoulos/

Music:

https://soundcloud.com/nikos-stavropoulos

<<ICST Artist in Residency

Marcin Pietruszewski

2023-04-27T09:54:54.476000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Marcin Pietruszewski works as ICST Artist in Residency from 6/27/2022 to 7/17/2022 in the ICST Composition Studio.

Marcin is working on a new 'piece' for multichannel (Ambisonics). He is using his own instrument 'Pulsar Generator (nuPg)' for this. This SuperCollider (SC3) instrument, he will extend with our 'ICST Ambisonics Plugins' for 3D audio.

The New Pulsar Generator (nuPg) is an interactive program for sound synthesis developed in SuperCollider 3 (SC3) programming language.

You can find more information about Marcin Pietruszewski here: https://www.marcinpietruszewski.com/

<<ICST Artist in Residency

Mariam Gviniashvili

2023-04-27T09:54:54.477000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Mariam Gviniashvili will be our guest at ICST composition studio from 13.06.2022 - 19.06.2022.

She was awarded PRIX CIME and received this residency as a prize for it. Mariam is working on a new audiovisual piece in multichannel format to be premiered in Berlin, at the Heroines of Sound festival in July.

We wish her a lot of inspiration power and success!

For detailed information about Mariam Gviniashvili please check her site directly.

https://www.mariamgviniashvili.com/

<<ICST Artist in Residency

Kompositionsstudio: Siderack Patch-Field & WAK

2023-04-27T09:58:51.983000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Kompositionsstudio: Siderack Patch-Field

WAK ( In / OUT ) Speakers

<< ICST Kompositionsstudio | Studio for Composition

Free Plugins (Selection)

2024-01-22T08:27:03.399000Z

Free Plugins Selection

Absolutely note, belongs in my opinion to each Reaper installation!

Installation & Setting:

For ReaPack: Just import this repository:

https://raw.githubusercontent.com/TukanStudios/TUKAN_STUDIOS_PLUGINS/main/index2.xml

How to install, see here:

Using ReaPack:

https://www.youtube.com/watch?v=u-oLZcYHvac

Manually:

https://www.youtube.com/watch?v=EBqaV_jTmws

Link to files:

https://github.com/TukanStudios/TUKAN_STUDIOS_PLUGINS

You can support me here:

https://www.patreon.com/tukanstudios

Variety Of Sound

http://varietyofsound.wordpress.com/vst-effects/
Beschreibung: Diese sind eine Perle unter den freien verfügbaren Plugins die ich je gesehen habe.Und unter http://varietyofsound.wordpress.com/downloads/am besten alle Sachen runterladen. Besonders das EpicVerb+Presets hat mich doch sehr umgehauen.

<< Table of contents

Ambisonics Encoder and GyroOSC

2024-01-25T08:31:27.550000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

From version.2.2.1f you will be able to scale and edit the OSC input messages.

Open 'OSC RX'
In the 'OSC RX' choose your Port-number (default is 50001) and activate the 'Receive OSC' toggle. (show next picture)
Open the OSC-Send tool and set the IP address and port accordingly. (I show them the next steps using the example of the app 'GyrOSC', which they can also find in the App Store).
After opening 'GyrOSC', I select this setup there:

'GyrOSC' sends now this OSC-messages over the port 50001 to the 'ICST Ambisonics Encoder'

/gyrosc = from where
/1 = index (point-number)
/grav = Gravity
/ x, y, z

5. Now activate in the 'ICST Ambisonics Encoder' the 'Show OSC Log' window.

You get the OSC-messages from the 'GyrOSC' (green frame)

Press 'Add' and write the following Instead of the '/demo/{i} {x} {y}'

/gyrosc/{i}/grav {x} {y} {z}

Activate the 'hide warnings' toggle.

Now the OSC messages are green and therefore correct!

You can now move the point-1 in the encoder.

Hint: To move another point, select the desired point in the 'GyrOSC' under 'Tag'.

For scaling of incoming OSC messages please refer to the Help file.

<< Tutorials Studiopraxis

Cathy Lane

2023-04-27T09:43:18.382000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Cathy Lane experimented with the latest ICST Ambisonics plugins, during her ICST Artist in Residency time, from 19-07-2021 - 08-08-2021 for her latest work 'The River Goes On'. She will be working on the sound localization /Ambisonics of her final version at the ICST composition studio from 17-3-2022. 'The River Goes On' uses field recordings made in Tigray, Northern Ethiopia in 1986 and 2017 will be performed at the Archipel 2022 festival on 4/2/2022.

Yesterday it was stereo, today it's immersive

Cats Lane brought a finished Logic X session with 17 stereo tracks to the studio. We transferred the stereo tracks to Reaper. Using the ICST Ambisonics plugins, the stereo files were placed in Ambisonics and then saved as Bformat 3.order.

Cathy Lane info: https://cathylane.co.uk/

<<ICST Artist in Residency

Olga Koksharova

2023-05-09T09:36:16.316000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Olga Koksharova is working from 11.03.2022 - 13.03.2022 in the ICST Kompositionsstudio.

She is working on finishing her composition 'Sculpter la Voute. Altération.' which she created in ambisonics using the ICST Ambisonics plugins as Artis in Residency at ICST in July 2021.

Olga Koksharova is rehearsing her new piece 'Sculpter la Voute. Altération.' which she will perform at the Archipel Festival on the 2nd of April 2022 in Geneva.

In 'Sculpter la Voute. Altération.' Olga is working on a hybrid spatialization concept. She created the piece during her ICST Artist in Residency time as Ambisonics B-format 3rd order. This additional session is about combining the B-format with the Acousmonium available in Geneva. The added loudspeakers of the acousmonium will allow her to work on the timbral components of her piece created in Ambisonics.

Download PDF

Mycènes Alpha, by Iannis Xenakis (1978)

is the first pièce entirely composed on the UPIC. This work was specifically conceived to be integrated in the Polytope de Mycènes, which was performed between September 2 – 5, 1978, in the ruins of the acropolis of Mycenae in Greece. (Quelle)

Olga Koksharova also creates the Same Hybrid Strategy for this work by Y.Xenakis. (Commissioned by Archipel 2022)

Together Ambisonics and the 'Acousmonium' Olga creates a new interpretation.

Contact: http://kokcharova.zov308.org

<<ICST Artist in Residency

ICST Software | Downloads

2023-09-22T20:38:45.552000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

Free Audio Plugins (Selection)

Free Audio Samples Database

IRCAM Software (2023 Updated)
GRAME Software

<< Table of contents

Partiels | Ircam Forum

2022-02-24T12:31:17.302000Z

Partiels

Partiels is an application for the analysis of digital audio files intended for researchers in signal processing, musicologists, composers, and sound designers. It offers a dynamic and ergonomic interface in order to explore the content and the characteristics of sounds.

Analysis Analysis of sound Audiosculpt Host Partiels Plugins

Partiels allows analysis one or several audio files using Vamp plugins (1), loading data files, organizing and visualizing the analyses inside groups, and exporting the results as images or text files (in order to be used in other applications such as Max, Pure Data, Open Music, etc.).

Discover the video tutorials!

Main features and characteristics:
* Versions for Windows, Mac & Linux
* Multiformat & multichannel support
* Multifile support (useful to compare audio files)
* Analyzing audio with Vamp plugins
* Visualizing results as spectrogram, lines, and markers
* Organizing and ordering analyses in groups
* Exporting results to PNG, JPEG, CSV, JSON, CUE & SDIF file formats
* Loading results from CSV, JSON, CUE & SDIF file formats
* Converting results from SDIF to JSON file formats and inversely
* Batch processing (useful to apply the same set of analyses on several audio files)
* Command line interface to analyze, export and convert results
* Consolidating documents (useful to share documents/analysis with other users across different platforms)
* Audio playback with loop

Partiels is compatible with Windows 10 (64 bit), macOS (universal binary: Intel 64 bit and M1) and Linux (64 bit - tested on Debian 10.9, Ubuntu 20.04, 20.10 & 21.04).

(1) Vamp is an audio processing plugin system for plugins that extract descriptive information from audio data developed at the Centre for Digital Music, Queen Mary, University of London.

Alongside Partiels, a set of analyses present in the AudioSculpt 3 application and based on the audio engines developed by the Ircam Analysis-Synthesis team are ported as Vamp plugins: SuperVP Vamp Plugin & IrcamBeat Vamp Plugin.

Partiels: created and developed by Pierre Guillot at Ircam
Vamp: developed at the Centre for Digital Music, Queen Mary, University of London: www.vamp-plugins.org

Spat | Ircam Forum

2022-02-24T12:29:25.240000Z

Ircam Forum

Spat (or Spatialisateur in French) is a real-time spatial audio processor that allows composers, sound artists, performers, and sound engineers to control the localization of sound sources in 3D auditory spaces. In addition, Spat provides a powerful reverberation engine that can be applied to real and virtual auditory spaces. The processor receives sounds from instrumental or synthetic sources, adds spatialization effects in real-time, and outputs signals for reproduction on an electroacoustic system (loudspeakers or headphones).

Its modular signal processing architecture and design are guided by computational efficiency and configurability considerations. This allows, in particular, straightforward adaptation to various multichannel output formats and reproduction setups, over loudspeakers or headphones, while the control interface provides direct access to perceptually relevant parameters for specifying distance and reverberation effects, irrespective of the chosen reproduction format.

Another original feature of Spat is its room effect control interface relying on perceptive criteria. This allows the user to intuitively specify the characteristics of a specific room without having to use an acoustic or architectural vocabulary.

Spat is, for instance, used for real-time 3D audio rendering with a 350-loudspeaker array in IRCAM’s variable acoustics concert hall.

Main Features

Spat relies on an efficient signal-processing library programmed in C++ to provide state-of-the-art software technologies. The software bundle comes as a set of Max/MSP external objects (i.e. plugins that can be inserted into the Max/MSP environment). Spat contains more than 250 external objects, many abstraction patchers, help patches, tutorials, large HRTF database, etc. Spat objects are highly configurable and most of them support up to 250 input/output channels (in Max 6 or 7) and up to 8192 input/output channels (in Max8). DSP objects are also compatible with Max8 MC (« multi-channel ») patchcords.

The main features are:

sound spatialization (panning) in 2D or 3D. Here is a non exhaustive list of supported panning algorithms:
stereo (AB, XY, MS)
binaural (with near field compensation) and transaural
vector-base amplitude panning (VBAP)
vector-base intensity panning (VBIP)
distance-based amplitude panning (DBAP)
nearest-neighbor amplitude panning (KNN)
speaker-placement correction amplitude panning (SPCAP)
B-format and higher order Ambisonics (HOA) without order restrictions
near-field compensated higher order Ambisonics (NFC-HOA)
wavefield synthesis (WFS)
layer based amplitude panning (LBAP)
artificial reverberation. Multichannel scalable/tunable algorithmic reverberation based on feedback delay networks. Efficient multichannel real-time convolution without latency.

perceptual control of the acoustic quality of the room: warmth and brilliance; presence/proximity of the sound source; room presence; early and late reverberation, heaviness and liveness. Easy control over the radiation of sound sources (aperture and orientation).
low-level signal processing: equalization, Doppler effect, air absorption, etc.
graphical user interfaces for controlling/authoring/monitoring the spatial sound scene.
many objects to create/edit/transform spatial trajectories.
many useful tools to manipulate multichannel audio signals: multichannel sound file player/recorder (spat.sfplay~, spat.sfrecord~) up to 250 channels; multichannel EQ, compressor, limiter, gate, etc.
utility tools for linear time code (LTC), quaternions, etc.
tools for room acoustics and/or speakers calibration: delays/gains measurement and correction; measurement, analysis and denoising of multichannel room impulse responses, etc.
headphones monitoring of any multichannel stream.
various audio effects: stereo enlargement, Leslie cabinet simulation, ping pong delays, graphical equalizers, parametric equalizers, etc.
OSC remote control of all processors.
full-fledged mixing environment (Panoramix) for 3D audio.
Import/export/realtime rendering of object-based audio according to the Audio Definition Model (ADM format).
etc...

The Spat bundle contains Max/MSP implementation of the award-winning Flux:: Ircam Tools plugins (Ircam-Spat, Ircam-Verb, Ircam-VerbSession, Ircam-Hear), and Flux:: Spat-Revolution

Fields of Application

Composition
Film & Video
Post-production
Scientific Research & Development
Virtual reality
Sound Design

Spat can be used in several contexts:

Live concerts, sound installation and spatialization in real-time. The composer can associate each note or sound event in the score with a room effect or a specific position in space. Spat can be controlled by a sequencer, a score-following system, or any other algorithmic approach. Being integrated into the Max/MSP environment, Spat can easily be linked to any remote control device (tracking system, tablet, smartphone, joystick, gestural sensors, etc.).

Mixing and Post-production. A spatialization module can be affected to each channel on the mixing table in order to have access to an intuitive and global control of the positions of each source and their associated room effect.

Virtual Reality. The spatialized auditory component is essential in creating the sensations of presence and immersion in virtual reality applications, or in interactive installations. In such scenario, the binaural mode (3D reproduction over headphones) of Spat is particularly well suited. Binaural rendering is remarkably convincing when the processor is linked either to a tracking system (that follow the subject’s position and orientation) or to gestural controllers.

References

Thibaut Carpentier. Récents développements du Spatialisateur. In Proc of Journées d’Informatique Musicale (JIM), Montréal, May 2015.

Thibaut Carpentier. Une nouvelle implémentation du Spatialisateur dans Max. In Proc Journées d’Informatique Musicale (JIM), May 2018, Amiens, France. 2018.

Thibaut Carpentier. A new implementation of Spat in Max. In Proc of the 15th Sound & Music Computing Conference (SMC), pp 184 – 191, Limassol, Cyprus, July 2018

Legal Information

Spatialisateur is an IRCAM registered trademark. The design of Spat and the reverberation module are protected under several French and international patents ([FR] 92 02528; [US] 5,491,754, [FR] 95 10111; [US] 5,812,674). All other trademarks belong to their owners. Max/MSP is the property of IRCAM and Cycling’74.

Tutorials Studiopraxis

2023-05-09T09:34:16.186000Z

Institute for Computer Music and Sound Technology / (ICST) Zurich University of the Arts

TheFluidCorpusManipulationproject(FluCoMa):

Info (University of Huddersfield)
Learn
Download

Reaper Tutorials

<< ICST Kompositionsstudio | Studiopraxis

Hans Tutschku Remembering Japan

2023-08-28T10:26:35.058000Z

Hans Tutschku arbeitete vom 31.01.2022 bis zum 13.2.2022 am ICST.

In dieser Zeit realisierte er sein Zyklus. 'Remembering Japan' in 5 Teilen.

Remembering Japan

part 1: immersion

09:58 min

part 2: expansion