Nachruf Marion Saxer (gest. 18.05.2020)

Streiterin für Neues

Diskussionen mit ihr konnten lange dauern. Was könnten thematische Schwerpunkte sein und welche Künstler/innen und Wissenschaftler/innen lädt man ein? Sind der klassische Vortrag, die Podiumsdiskussion oder die frontale Konzertsituation noch zeitgemäße Formate oder sollte man nicht einmal ganz anders denken? Mit Marion Saxer ein Symposium oder eine Konzertreihe zu planen, war immer eine kreative Bereicherung, lehrreich, aufregend, eine energische Aufforderung zum Nachdenken. Ihre Projekte verfolgte sie mit Ideenreichtum und Hartnäckigkeit.weiterlesen…

New deadline for Yahoo Groups data request

Next Steps: The Evolution of Yahoo Groups (Final Notification)

Evolution of Yahoo Groups

NEWS – Marc Behrens News last week of October 2016

Von: Marc Behrens

Datum: Thu, 27 Oct

Betreff: Marc Behrens News last week of October 2016

Marc Behrens News last week of October 2016

October 29–30, 2016

Oct 29, 19:00 – Oct 30, 3:00 (MET)

Marc Behrens scheduled at 22:00 and 1:40 (MET)

Cologne, Germany: Marc Behrens «Mut Att Narc Imm» and «Clould» live at

«Soundart 2016» during the «Museumsnacht Köln». The eight hours long

program features live performances by: Tomomi Adachi,

Gilles Aubry, Marc Behrens, Lisa Domin/Ralf-Tibor Stemmer/Zofia

Bartoszewicz, Luis Negrón van Grieken, Balz Isler, Albrecht Pischel. The

event will take place at the WDR Hörspielstudio, Funkhaus Wallrafplatz,

Cologne. A cooperation of WDR3, Stiftung Hören, Skulpturenmuseum

Glaskasten Marl, European Soundart Award.

October through December 2016

Wrong Wrong Magazine, Portugal: Marc Behrens is artist-in-residence in

the issue Wrong Wrong n.7 «O Regresso da Europa/The Return of Europe».

The essay «One About Sugar/Um Sobre Açúcar» was published October 26.

Curated by Sandra Vieira Jürgens and Paulo T. Silva.

YouTube channel:

digital audio releases:

KARLSRUHE – Konzerthinweis Festival ZeitGenuss Karlsruhe Sa | 29. Okt. 2016 | 15.00 Uhr

Von: Matthias Ockert

Datum: Thu, 27 Oct 2016

Betreff: Konzerthinweis Festival ZeitGenuss Karlsruhe Sa | 29. Okt. 2016

| 15.00 Uhr


Matthias Ockert „Strombahnen II. open circuits“(2011) für E-Gitarre und


Matthias Ockert E-Gitarre und Elektronik

Timothy Schmele Klangregie


Festival ZeitGenuss Karlsruhe

Musik im Gespräch

In Kooperation mit dem Deutschen Musikrat

Sa | 29. Okt. 2016 | 15.00 Uhr

Eintritt frei

MUTprobe 1

Hochschule für Musik Karlsruhe

Campus One

Am Schloss Gottesaue 7

76131 Karlsruhe

Musik im Gespräch

In Kooperation mit dem Deutschen Musikrat

30 Jahre

Edition Zeitgenössische Musik

des Deutschen Musikrats

Gesprächsrunde mit

Olaf Wegener, Leiter Projekte zeitgenössische Musik

des Deutschen Musikrats • Wolfgang Rihm • Leopold

Hurt • Matthias Ockert • Vito Žuraj

Werke aus aktuellen CDs:

Vito Žuraj (*1979) Top Spin (2011)

Leopold Hurt (*1979) LOGBUCH Zweite Sammlung für Zither

Matthias Ockert (*1970) Strombahnen II. open circuits für E-Gitarre und


„Strombahnen II. open circuits“ Live-Mitschnitt br-alpha bei youtube:

„Strombahnen II. open circuits“ excerpt bei soundcloud:

matthias ockert komponist gitarrist

Südendstr. 21

D-76137 Karlsruhe Germany

[cec-c] Fwd: announcing NYCEMF 2017

Von: CEC
Datum: Wed, 26 Oct 2016
Betreff: [cec-c] Fwd: announcing NYCEMF 2017

Announcing the
New York City Electroacoustic Music Festival
June-July 2017
The New York City Electroacoustic Music Festival solicits works for
its festival in June and July 2017. The festival will take place at
the Abrons Arts Center on June 19-25, at National Sawdust on July 7-9,
and on other dates at other venues in New York City. Details of the
festival are shown below and are posted on our web site,
Call for Works

Composers or performers are invited to submit works in any style of
electroacoustic music in any the following categories:
Electronic music for fixed media alone, with up to sixteen
channels of sound.

Works involving live electronics, including computer
processing and laptop orchestras.
Works combining musical instruments or voice with live or
fixed media electronics.
Video and multimedia works.
Installations involving music or video
Submission deadline: December 1, 2017.
Entry fee: none.
Registration fee: $160. Registration is required for all persons
whose submitted works are accepted. This fee entitles them to free
admission to all events at the Festival. Attendance is not required,
but even if submitters do not attend, the fee must still be paid.
Individuals may submit one or two works, provided that the second
submission is five minutes or less. Individuals may also submit an
installation or a proposal for a curated concert.
Works in progress will be considered if a substantial part of the work
is complete. The accepted work cannot exceed the duration indicated at
the time of submission, and the final versions cannot be substantially
different from the versions submitted.

For the selection process, multichannel works may be submitted either
in their original channel configuration or as stereo mixes.
Works involving instrumentalists are welcome, but if the submitter is
unable to provide the performer(s), additional costs may need to be
borne. If NYCEMF needs to provide the performers, only works with no
more than two performers can be considered.
NYCEMF will provide in each performance space a mixing console,
speaker system, microphones, cables, and a computer and audio
interface for the playback of fixed media audio/video. Composers of
interactive works will be responsible for providing their own
computer, audio interface, and any specialized peripherals.
Works of any length may be submitted, but, for practical reasons, we
will more likely be able to include shorter works than longer ones.
Performers may submit up to two works with the agreement that they
will play them. If a performer wishes to submit more works, he or she
may choose to propose a curated concert.
Call for works with appeal to children
NYCEMF would like to organize a concert with special interest to
children. We encourage composers to submit works that they think may
have such appeal. Please indicate the nature of this appeal in the
project description of your submission.
3D Spatialization Lab
A special room will be equipped with an array of 16 speakers, 8 in the
usual surround sound configuration and 8 at a higher level, allowing
sound to be spatialized in three dimensions. The audience will be
seated in the center of the space. We solicit works that will take
advantage of these resources, and we encourage works that use the full
16-channel capability as well as the diffusion of works with fewer
channels. We will allow composers whose works are played in this space
additional tech time to plan their diffusion. Only fixed media works
will be played in this space, not works involving musical instruments
or video.

The featured performers for NYCEMF 2016 will be cellist Madeleine
Shapiro, pianist Keith Kirchoff, clarinet and tarogato player Esther
Lamneck, violinist Maja Cerar, and clarinetist Marianne Gythfeldt.
Individual Presentations
In addition to musical works, we will also consider individual
presentations that may consist of many different kinds of activities
such as…
Paper and piece presentations.
Musicological discussions of electroacoustic music issues.
Analyses of compositions of historical importance
including electroacoustic music “classics,” papers, or other ideas.
Research in electroacoustic musical topics.
Installations and Galleries
The Abrons Arts Center includes several locations that will be
suitable for audio and video installations, including galleries and a
large outdoor amphitheater. We will post descriptions and photographs
of these spaces, and we encourage installation artists to design works
for these specific locations.
Call for Curated Concerts
Proposals are also invited for the presentation of an entire concert,
not to exceed 52 minutes in duration of music. These concerts
represent an opportunity to put together an entire concert consisting
of works of their choice. The concert should be organized around a
theme or idea, and they may include works of historical importance as
well as more recent works. A performer may also propose a concert that
he or she will play. The only limitation is that no more than one work
by an individual composer may be included.
NOTE: The registration fee for curated concerts will be $500.
Emeritus Professor Hubert S. Howe, Jr.
Aaron Copland School of Music
Queens College C.U.N.Y.
Flushing, NY 11367-1597
(718) 997-3865

NEWS – [LAST CALL] eContact! 18.4 – Notation in Electroacoustic Practices

Von: CEC jef chippewa via cec conference

Datum: Wed, 26 Oct 2016

Betreff: [cec-c] [LAST CALL] eContact! 18.4 – Notation in

Electroacoustic Practices

[LAST CALL] eContact! 18.4 – Notation in Electroacoustic P



eContact! 18.4 Notation of Sonic Art and Digital Audio Practices

Notation dans les pratiques d’art sonore et audionumériques


You can put 150 marks on a note but it still doesn’t give all the

information. /

Vous pouvez bien placer 150 signes sur une note, ça ne donnera pas toute


–Joan La Barbara, interviewed by Kalvos & Damian

[E] We are pleased to now invite submissions for an upcoming issue

of/eContact!/ on the topic of „Notation of Sonic Art and Digital Audio

Practices,“ with a special interest in critical evaluations and the

problematics of standardization of graphic representation.

A plethora of new and/or experimental approaches to the notation of

music or sound have been explored in the past century, resulting in a

vast range of styles and types of representation of sound phenomena. In

the electroacoustic (EA) domain in particular, not only the meaning of

the symbols has evolved, the role and function of the notation itself

has also greatly diversified. The notation must reflect as efficiently

as possible its intention, whether encountered in a performance score, a

listening score, a diffusion score or a mixing log.

For this issue of/eContact!/, we focus on notation specific to the

digital domain, to electroacoustic (EA), sonic art and other such

practices, with the goal of addressing issues that may indeed be present

in the instrumental domain but that have particular relevance for some

aspect of EA notation.

[F] Nous acceptons maintenant les propositions pour un numéro en

préparation d’/eContact!/ portant sur le thème de la «notation dans les

pratiques d’art sonore et audionumériques», et tout particulièrement sur

les évaluations critiques et les problèmes de standardisation de la

représentation graphique.

Une profusion d’approches nouvelles ou expérimentales de la notation

musicale ou sonore ont été explorées au cours du siècle dernier,

produisant une grande diversité de styles et de types de représentations

du phénomène sonore. Dans le domaine de l’électroacoustique en

particulier, non seulement le sens des symboles a-t-il changé, mais le

rôle et la fonction de la notation elle-même se sont passablement

diversifiés. La notation doit rendre compte aussi efficacement que

possible de l’intention qui la justifie, que ce soit dans une partition

conçue pour la performance, pour l’écoute, pour la diffusion ou un

carnet de notes de mixage.

Pour ce numéro d’/eContact!/, nous nous intéressons plus spécifiquement

à la notation dans le domaine numérique, l’électroacoustique, l’art

sonore et autres pratiques apparentées, avec l’objectif de nous pencher

sur des questions susceptibles de s’appliquer au domaine instrumental,

mais qui ont une pertinence toute particulière pour la notation en


[CALL] eContact! 18.4 — Notation (EXTENDED deadline 31 Oct)

[CALL] eContact! 19.3 — Light+Sound (deadline 31 Dec), w. Nicolas Bernier

Communauté électroacoustique canadienne (CEC) Canadian Electroacoustic



BERLIN – 07.11: Karkhana, Rashad Becker and Eli Keszler at Kantine am Berghain

Von: Manuela Benetton

Datum: Wed, 26 Oct 2016

Betreff: Berlin 07.11: Karkhana, Rashad Becker and Eli Keszler at

Kantine am Berghain

Monday, 7 November 2016

Kantine am Berghain – Am Wriezener Bahnhof 12043 Berlin



Facebook Event: here

Combining some of the most innovative players from each of three cities

(Beirut – Cairo – Istanbul), Karkhana met

in Beirut for the first time in February 2014 with the very ambitious

aim to bring together elements from the three major experimental music

scenes of the area. The band’s music strives to create a unique musical

blend combining free jazz and psychedelic with various shades of ethnic

and traditional music, traces of shaabi, tarab… Building on the

multi-instrumental capacities of its members, the group tries to develop

what could possibly be called a “Free Middle-Eastern Music”. – Video: (1

Current line-up:

Mazen Kerbaj: trumpet, mezmar

Umut Çağlar: reeds, flutes

Sam Shalabi: oud, electric guitar

Sharif Sehnaoui: electric guitar

Maurice Louca: organ

Tony Elieh: electric bass

Michael Zerang: drums, percussion

Artists Eli Keszler and Rashad Becker will embark their second

European tour in November. These two avant garde composers and fluent

improvisers have performed as a duo only a few times before so expect

new ground will be broken with each show. Video: (1…)

Eli Keszler is a composer, artist and multi-instrumentalist based in New

York City. He has released two acclaimed albums for PAN, and was last

heard on record in collaboration with another estimable jammer, Oren

Ambarchi, and in collaboration with Tony Conrad, Christian Wolff and Joe

Mcphee amongst many others. His new record,Last Signs of Seed

(2xLP and Digital) will be released on Empty Editions

out November 17th.

Rashad Becker’s live sets evolve around the angle of traditional music

of notional species, a semi-abstract synthetic narrative that proves

appealing to a remarkably wide audience.

DRESDEN – TONLAGEN-Festival: Oper „Tree of Codes“ / Simon Steen-Andersens „Inszenierte Nacht“ / Abschluss mit Morphonic Lab

Von: HELLERAU Newsletter

Datum: Tue, 25 Oct 2016

Betreff: TONLAGEN-Festival: Oper „Tree of Codes“ / Simon

Steen-Andersens „Inszenierte Nacht“ / Abschluss mit Morphonic Lab

Die zweite Woche: TONLAGEN – Festival der zeitgenössischen Musik

noch bis zum 29. Oktober

Click for more info:

PARIS – 9/11/16 Concert à Paris sur l’acousmonium „influx“ de Musiques & Recherches

Von: Musiques & Recherches

Datum: Mon, 24 Oct 2016

Betreff: [cec-c] 9/11/16 Concert à Paris sur l’acousmonium „influx“ de

Musiques & Recherches

J’ai le plaisir de vous annoncer notre concert « haikusmatique » au

centre Wallonie-Bruxelles à Paris, face à Pompidou (entrée sur le côté),

le 9 novembre 2016 à 20 heures, dans le cadre du festival Ars Musica,

autour du thème général du Japon (Le pays du sonore levant). Avec des

créations mondiales de Laurent Delforge, Loup Mormont et moi-même, et

une première diffusion à Paris, de « IÖ » de Ingrid Drese.

Espérant avoir le plaisir de vous rencontrer à cette occasion,


Annette Vande Gorne

Plus d’info

CONFERENCE – Force-Feedback & Music Workshop – December 2016 – CIRMMT/IDMIL

Von: Bret Battey via cec conference

Datum: Mon, 24 Oct 2016

Betreff: [cec-c] FW: Force-Feedback & Music Workshop – December 2016 –


Call for Abstracts – CIRMMT Symposium on Force Feedback and Music

The Centre for Interdisciplinary Research in Music Media and Technology

(CIRMMT) and the Input Devices and Music Interaction Laboratory (IDMIL),

McGill University, are organizing a 2-day workshop on December 9-10, 2016

to discuss the state-of-the-art and the possible future directions of

research on force-feedback and music (FF&M).

Summary of Important Information:

*CIRMMT Symposium on Force Feedback and Music

*When: December 9 ­ 10, 2016

*Where: CIRMMT, McGill University, Montreal, Qc, Canada (

*Deadline for abstract submission: Monday November 14 16 2016

*Acceptance notification: Thursday November 17 2016


Though haptics research in music is a very active research field, it seems

presently dominated by tactile interfaces, due in part to the widespread

availability of vibrotactile feedback in portable devices. Though now

recent‹with some of the its early contributions dating back to the end of

the 70s‹research on force-feedback in musical applications has

traditionally suffered from exogenous issues such as hardware cost, as

well as the lack of community-wide accessibility to software and hardware

platforms for prototyping musical applications. Despite this situation, in

recent years several works have addressed this topic proposing software

platforms and simulation models.

We believe that it is then time to probe the current state of research on

Force-feedback and music (FF&M).


We invite the submission of abstracts summarizing innovative work

addressing force-feedback applications to music and media, including, but

not limited to, the following topics:

– Music and media applications of force-feedback systems

– FF models of musical actions

– Audio and mapping systems adapted to force-feedback applications

– Open-hardware and open-source solutions for developing and sharing

force-feedback/musical projects

– Evaluation of system quality vs cost in musical applications

– The pros/cons of existing hardware and software systems

– The obsolescence of hardware and software systems and ways to deal with


– Perceptual issues in FF&M

Abstract submission:

To propose a contribution, please send a one page summary of your proposal


a) the research you carry out

b) its current results

c) its future perspectives

Deadlines and how to submit:

The deadline for abstract submission is *Monday November 14 2016*.

Please send your one-page abstract to, with

the email subject: [FF&M 2016] Contribution by „XXX“

Selection results will be announced on Friday Nov 18.

The CIRMMT Symposium on Force Feedback and Music is sponsored by the Input

Devices and Music Interaction Laboratory, McGill University, the

Inria-FRQNT MIDWAY „équipes de recherche associées“ project, the Centre

for Interdisciplinary Research in Music Media and Technology and McGill


Prof. Marcelo M. Wanderley

IDMIL/CIRMMT, McGill University


Machen Sie Ihr Werk bekannt – kostenlos/Popularise Your Work for free

Stellen Sie mehr Öffentlichkeit für Ihre musikalisches Werk her!

Improve public communikation of your musical work!

Die Internationale Dokumentation Elektroakustischer Musik (EMDoku)

Suchmaschine für Elektroakustische Musik

33.000 Einträge

als Werk mit Titel, Tonträgerangaben, teilweise mit detaillierten


Jeder Schaffende der Elektroakustischen Musik kann sich dort eintragen

und seine Werke öffentlich machen. Näheres unter

The International Documentation of Electroacoustic Music (EMDoku)

Search engine for electroacoustic music

33.000 entries

work titles, sound storage references, performance references (partially)

Every creator of Electroacoustic music is invited to make works public

in EMDoku. For more info

for reading only: (->“Server EMDoku1“ -> „EMDoku1“)

login without password as „gastkonto“

for reading/writing:

contact to get a password

Die Internationale Dokumentation Elektroakustischer Musik wurde

intiiert von Folkmar Hein und wird gefördert von der DEGEM

The International Documentation of Electroacoustic Music was created by

Folkmar Hein. DEGEM supports EMDoku.

BERLIN – three nights improv @ bauchhund salonlabor

Von: ludger hennig

Datum: Sun, 23 Oct 2016

Betreff: Berlin – three nights improv @ bauchhund salonlabor

Three Nights Improv @ bauchhund salonlabor, Berlin

24.10.2016 – 26.10.2016 – 20:00*

a rendezvous of

New York / Berlin / Leipzig / Trostberg / Washington D.C. / Mannheim /

Lara / London / Dresden / Weimar /

Northamptonshire / Manchester & Anderswo

24. Oktober, 20 Uhr

geoff gersh – sanshin

chris heenan – bass clarinet

ludger hennig – laptop

almut kühne – voice

ignaz schick – turntables + electronics

stefan schultze – prepared piano

25. Oktober, 20 Uhr

tom arthurs – trumpet

geoff gersh – sanshin

chris heenan – bass clarinet

ignaz schick – turntables + electronics

stefan schultze – prepared piano

richard scott – electronics

joss turnbull – tombak + electronics

26. Oktober, 20 Uhr

geoff gersh – sanshin

steve heather – drums

ludger hennig – laptop

simon rose – saxophone

richard scott – electronics

joss turnbull – tombak + electronics

Schudomastr. 38

12055 Berlin/Rixdorf

S-Bahn Sonnenallee/ Bus M41 bis Mareschstrasse

Eintritt: 5,- € bis 10,- €

Reservierung via: 030/56 82 89 31

ludger hennig


0152 2893 75 76

MAGDEBURG – SinusTon | 7. Magdeburger Tage der elektroakustischen Musik KLANGSPRACHEN 27. – 30. Oktober 2016

Von: Andre Bartetzki

Datum: Sat, 22 Oct 2016

Betreff: MAGDEBURG – SinusTon | 7. Magdeburger Tage der

elektroakustischen Musik KLANGSPRACHEN 27. – 30. Oktober 2016

SINUS~TON | BLICK NACH ASIEN 7. Magdeburger Tage der elektroakustischen


27. – 30. Oktober 2016 | Magdeburg

Gesellschaftshaus und Gruson-Gewächsthäuser

Schönebecker Straße 129 39104 Magdeburg


Donnerstag, 27. Oktober 2016

18:00 Uhr, Gruson-Gewächshäuser

Vernissage der Klanginstallationen von Ming Wang und Miki Yui

20:00 Uhr, Gesellschaftshaus (Gartensaal)


Erik Drescher | Flöte

Nikolaus Schlierf | Viola

Henrik von Coler | Klangregie

Werke für Instrumente, Lautsprecher und Videoprojektion von Unsuk Chin,

Eun-Ji Lee, Nan Liang, Chiyoko Szlavnics, Yoji Yuasa, Shintaro Imai u.a.

Freitag, 28. Oktober, 2016

18:00 Uhr, Gesellschaftshaus (Kleiner Saal)


Die Pipaspielerin Ya Dong aus Shanghai und der Leipziger Komponist Bernd

Franke sprechen über ihre Erfahrungen im Austausch zwischen ihren Kulturen.

19:00 Uhr, Gesellschaftshaus (Gartensaal)


Ya Dong | Pipa

Sonar Quartett Berlin: Susanne Zapf | Violine , Wojciech Garbowski |


Nikolaus Schlierf | Viola, Cosima Gerhardt | Violoncello

Henrik von Coler | Klangregie

Werke von Bernd Franke, Shintaro Imai, Chiyoko Szlavnics und Karen Power


21:00 Uhr, Gesellschaftshaus (Schinkelsaal) SOLO-PERFORMANCE I

Miki Yui | Live-Elektronik

Sonnabend, 29. Oktober 2016

19:00 Uhr, Gesellschaftshaus (Gartensaal)


Stefan Conradi & Bernd Gehlen | akustische und elektrische Gitarren

Valerio Sannicandro, Henrik von Coler | Klangregie

Werke von John Cage, Toru Takemitsu, Mauricio Kagel, Marc André,

Bernd Franke und Eckart Beinke und Valerio Sannicandro (UA)

21:00 Uhr, Gesellschaftshaus (Schinkelsaal)


Shintaro Imai (Composer in Residence) | Live-Elektronik

Sonntag, 30. Oktober 2016

16:00 Uhr, Gesellschaftshaus (Grüner Salon) JAPANISCHE MUSIK HEUTE

Oliver Schneller im Gespräch mit Shintaro Imai (Composer in Residence

des SinusTon-Festivals)

17:00 Uhr, Gesellschaftshaus (Gartensaal) BLICK NACH ASIEN III

AsianArt Ensemble: Yoo Hong | Daegeum, Jou Jin Sung | Gayageum

Kikuchi Naoko | Koto, Matthias Leupold | Violine, Yoo Chang-Yun | Viola

Gabriella Strümpel | Violoncello, Matthias Bauer | Kontrabass

Andre Bartetzki | Klangregie

Werke für westliche und ostasiatische Instrumente, Elektronik und Video

von Marc Battier, Il-Ryun Chung, Tom Rojo Poller, Myung-Sun Lee, Andre

Bartetzki (UA) und Shintaro Imai (UA)


27.–30. Oktober 2016


Ming Wang: Musikalische Fantasietiere

27.–30. Oktober 2016

Gesellschaftshaus Magdeburg

Miki Yui: mamagoto

ROM – Einladung „IX EMUFest“

Von: wilfried jentzsch

Datum: Sat, 22 Oct 2016

Betreff: Einladung

IX EMUFest – Conservatorio di Musica Santa Cecilia . Roma

Hiermit möchten wir zur Aufführung unserer akusmatischen Kompositionen

in Mehrkanaligjkeit einladen, die am 25. und 26. Oktober 2016 im Saal

Bianchini zur Aufführung gelangen.

Hiromi Ishii – Ryojinfu

Wilfried Jentzsch – Entre Ciel et Terre

LEICESTER – MIT fall concert series, & Wednesday Denis Smalley!

Von: Simon Emmerson via cec conference

Datum: Sat, 22 Oct 2016

Betreff: MIT fall concert series, & Wednesday Denis Smalley!

MTI is very pleased to present (below & attached) the line-up for the

rest of our Autumn 2016 concert series. These include some fabulous

international guests, and our wonderful student works, so do try to

attend as many as you can, you won’t regret it! Come one, come all,

bring family and friends, and feel free to promote and distribute in any

way you see fit.

NOTE!!! This coming Wednesday, October 26th, we are VERY excited to have

a very special guest: world-renowned composer Denis Smalley will be

presenting some of his most recent works!! Don’t miss it, it’s a rare

treat and fabulous stuff!!

See you at the concerts,


Music, Technology and Innovation

CONCERTS – Autumn 2016


All concerts 7pm, DMU PACE Building, except where otherwise noted

Wednesday October 12th: Opening Concert

The opening concert of the MTI 2016-17 ‚Love International‘ concert

series! Featuring recent MTI student highlights, including works &

performances by Marinos Æ Giannoukakis, Neal Spowage, Sam Topley, &

Virginie Viel.

Wednesday October 26th: Denis Smalley

MTI is VERY proud to offer a very special treat: a concert by one of the

most renowned electroacoustic composers in the world, Denis Smalley, in

honour of his 70th birthday! A rare and special treat indeed – not to be


Tuesday November 8th: MTI @ Music Cafe

– Music Cafe, New Park St.

MTI students take over the Music Cafe, for an open stage event of wild

performances. Student-led, student-run, performed by students, performed

for students: DJ’s, bands, and everything in between!

Wednesday November 9th: Ann Rosén & Sten-Olof Hellström

HR is a Swedish duo consisting of the two sound-artists and composers

Ann Rosén and Sten-Olof Hellström that mainly perform composed

electroacoustic music. A concert with knitted sensors and textile

controllers that bend, stretch and twist the acoustic room as they

conjure up strange new sound worlds!

Wednesday November 23rd: Undergraduate Concert

Sound diffusion, improvisation, feedback, and more! Performances by

students from MTI courses ‚Sound in Space‘, ‚Performing With

Technology‘, and ‚Creating With Technology‘.

Wednesday November 30th: Postgraduate Concert

Come hear some of the groundbreaking artistic work being produced by MTI

postgrads! A whirlwind tour of cutting edge art and research in sound.

Tuesday December 6th: Yan Jun Provocation

– Open Seminar, Phoenix, 20:30

A seminar-cum-provocation by Beijing-based artist, performer and writer

Yan Jun, in advance of his very special performance at MTI the following


Wednesday December 7th: Yan Jun

Beijing-based artist, performer and writer Yan Jun visits MTI! A

uniquely thrilling and unpredictable performer, bringing together

improvisation, electronics, feedback, site-specific

performance/installation, and the body. Not to be missed.

James Andean


Music, Technology and Innovation

Leicester Media School

Room 00.07f Clephan Building

De Montfort University

Leicester LE1 9BH

CONFERENCE – TCPM 2017 – Tracking the Creative Process in Music, University of Huddersfield

Von: Frédéric Dufeu via cec conference

Datum: Thu, 20 Oct 2016

Betreff: [cec-c] TCPM 2017 – Tracking the Creative Process in Music,

University of Huddersfield

Please find below a reminder call for contributions to the TCPM 2017


Best wishes,



International conference, 4th edition

Huddersfield, United Kingdom

September 14-16, 2017*