From marc.battier at paris-sorbonne.fr Mon Oct 19 15:54:51 2009 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Mon Oct 19 15:55:03 2009 Subject: [Emsan-l] CEMC/EMSAN Day Cooloquium Programme Message-ID: Dear Friends, Here is the programme for the CEMC/EMSAN Day Colloquium which will take place on Octobre 28. There's been a good turnout and there's a promising panel discussion on publication issues. We'll keep you posted. Best regards, CEMC-EMSAN Colloquium Day 2009 Octobre 28, Musicacoustica Festival, Central Conservatory of Music, Beijing, China Version Octobre 12, 2009 Theme 1 Visions of the Future of Electroacoustic Music in Asia Theme 2 Panel discussion: Projects of Publications on Electroacoustic Music in Asia MORNING: PAPER SESSION session 1: GENERAL TOPICS 9AM ZHANG Xiaofu - Introduction to the CEMC/EMSAN Day: "Visions of the future of electroacoustic music in Asia" Central Conservatory of Music, Director of CEMC, President of EMAC, Composer, Doctorial Tutor, Co-Organizer of CEMC-EMSAN Day 9:30 LIAO Lin-Ni: "Taiwanese women composers and Mixed-Music. Multiplication Virtuelle by Lin Mei-Fang, Tien Nee by Chao Ching-Wen" MINT-OMF, University Paris-Sorbonne 9:55 Arvin SEDAGHATKISH: "Iran's Experience: Toward a fused aesthetic" Teheran, Iran 10:20 MIZUNO Mikako: "Electronic sounds and interactivity in Japanese contemporary sound performance" Nagoya City University, Japon 10:45 Marc BATTIER: "East-West echanges in Western electroacoustic music studios in the early days" MINT-OMF & EMSAN, University Paris-Sorbonne, France (co-organizer) session 2: DATABASES, NETWORKING AND EMSAN PROJECTS 11:10 HUANG Chun-Zen: "Musicologists' Challenge in Digitization Era: the Preservation of Electro acoustic Music in Taiwan - a Primary thought" National Taiwan Normal University, Taiwan 11:35 Ken FIELDS: "EMS: Asian 'Network'" University of Calgary, Canada 12:00 ZHANG Ruibo: "The Role of CHEAERS.info Should Play in EMSAN" Shenyang Conservatory of Music, Liaoning, China 12:25 Seongah SHIN and Taehong PARK: TBA ICMA/Keimyung University, Daegu, South Korea and Tulane University, USA 12:45: END OF PAPER SESSION LUNCH AFTERNOON: PANEL DISCUSSION: Projects of Publications on Electroacoustic Music in Asia 14:00-15:30 - PANEL DISCUSSION Presenters plus these personalities (alphabetic order) AN Chengbi Shanghai Conservatory of Music, Shanghai, China HUANG Zhenyu Central Conservatory of Music, Beijing, China JIN Ping Central Conservatory of Music, Beijing, China Hasnizam Abd WAHID Dean, Faculty of Applied and Creative Arts Universiti Malaysia Sarawak, Malaysia WU Yuebei Central Conservatory of Music, Beijing, China ? -------------- next part -------------- Skipped content of type multipart/mixed From hohchungshih at yahoo.com Mon Oct 19 20:56:30 2009 From: hohchungshih at yahoo.com (Chung Shih) Date: Mon Oct 19 20:56:39 2009 Subject: [Emsan-l] CEMC/EMSAN Day Cooloquium Programme Message-ID: <379316.10253.qm@web35603.mail.mud.yahoo.com> All the best to everyone on Emsan/Cemc!!! Chung Shih Sent from my iPhone On 2009-10-20, at ??05:54, Battier Marc wrote: Dear Friends, Here is the programme for the CEMC/EMSAN Day Colloquium which will take place on Octobre 28. There's been a good turnout and there's a promising panel discussion on publication issues. We'll keep you posted. Best regards, CEMC-EMSAN Colloquium Day 2009 Octobre 28, Musicacoustica Festival, Central Conservatory of Music, Beijing, China Version Octobre 12, 2009 Theme 1 Visions of the Future of Electroacoustic Music in Asia Theme 2 Panel discussion: Projects of Publications on Electroacoustic Music in Asia MORNING: PAPER SESSION session 1: GENERAL TOPICS 9AM ZHANG Xiaofu - Introduction to the CEMC/EMSAN Day: "Visions of the future of electroacoustic music in Asia" Central Conservatory of Music, Director of CEMC, President of EMAC, Composer, Doctorial Tutor, Co-Organizer of CEMC-EMSAN Day 9:30 LIAO Lin-Ni: "Taiwanese women composers and Mixed-Music. Multiplication Virtuelle by Lin Mei-Fang, Tien Nee by Chao Ching-Wen" MINT-OMF, University Paris-Sorbonne 9:55 Arvin SEDAGHATKISH: "Iran's Experience: Toward a fused aesthetic" Teheran, Iran 10:20 MIZUNO Mikako: "Electronic sounds and interactivity in Japanese contemporary sound performance" Nagoya City University, Japon 10:45 Marc BATTIER: "East-West echanges in Western electroacoustic music studios in the early days" MINT-OMF & EMSAN, University Paris-Sorbonne, France (co-organizer) session 2: DATABASES, NETWORKING AND EMSAN PROJECTS 11:10 HUANG Chun-Zen: "Musicologists' Challenge in Digitization Era: the Preservation of Electro acoustic Music in Taiwan - a Primary thought" National Taiwan Normal University, Taiwan 11:35 Ken FIELDS: "EMS: Asian 'Network'" University of Calgary, Canada 12:00 ZHANG Ruibo: "The Role of CHEAERS.info Should Play in EMSAN" Shenyang Conservatory of Music, Liaoning, China 12:25 Seongah SHIN and Taehong PARK: TBA ICMA/Keimyung University, Daegu, South Korea and Tulane University, USA 12:45: END OF PAPER SESSION LUNCH AFTERNOON: PANEL DISCUSSION: Projects of Publications on Electroacoustic Music in Asia 14:00-15:30 - PANEL DISCUSSION Presenters plus these personalities (alphabetic order) AN Chengbi Shanghai Conservatory of Music, Shanghai, China HUANG Zhenyu Central Conservatory of Music, Beijing, China JIN Ping Central Conservatory of Music, Beijing, China Hasnizam Abd WAHID Dean, Faculty of Applied and Creative Arts Universiti Malaysia Sarawak, Malaysia WU Yuebei Central Conservatory of Music, Beijing, China _______________________________________________ This message was sent to all subscribers of emsan-L To unsubscribe, see instructions at: http://www.ucalgary.ca/it/email/mailman E-mail: emsan-L@mailman.ucalgary.ca Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20091019/f07eb9cb/attachment.html From carlo_forlivesi at hotmail.com Mon Oct 19 12:28:30 2009 From: carlo_forlivesi at hotmail.com (Carlo Forlivesi) Date: Tue Oct 20 02:30:14 2009 Subject: [Emsan-l] BIWA et JIUTAMAI - LYON, 26 November 2009 Message-ID: Skipped content of type multipart/alternative-------------- next part -------------- Skipped content of type multipart/appledouble From marc.battier at paris-sorbonne.fr Tue Oct 20 02:12:05 2009 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Tue Oct 20 02:30:14 2009 Subject: [Emsan-l] EMS2010 Call for papers Message-ID: Call for communications - EMS10 The Electroacoustic Music Studies Network and the Shanghai Conservatory of Music are happy to announce the 2010 EMS Conference and would like to invite you to to participate. Theme: Teaching Electroacoustic Music: Tools, Analysis, Composition Dates and place: 21-24 June, 2010 ?Shanghai Conservatory, Shanghai, PR China To download the Call (in English, click on the flag): http://www.ems- network.org/ems10/ Deadline date for receipt of proposal for presentation in English or French: 15 February 2010 Deadline date for receipt of proposal for presentation in Chinese: 24 April 2010 (we are glad to accept abstracts in Chinese, but the communications will be either in English or French) Submissions are to be made electronically to ems2010@ems-network.org. Paper acceptance decisions will be emailed to applicants by the beginning of February Appel ? communications - EMS10 Le R?seau d'?tudes des musiques ?lectroacoustiques (EMS Network) et le Conservatoire de Musique de Shanghai sont heureux d'annoncer la tenue du prochain colloque international EMS et vous invite ? y participer. Th?me: Enseigner la musique ?lectroacoustique : outils, analyse, composition Dates et lieu : 21-24 juin 2010 ? Conservatoire de musique de Shanghai, Chine Pour t?l?charger l'appel (en fran?ais, cliquer sur le drapeau) http://www.ems-network.org/ems10 Date limite de r?ception des propositions en fran?ais ou en anglais : 15 f?vrier 2010. Date limite de r?ception des propositions en chinois : 24 avril 2010 (attention: les communications devront ?tre donn?es en anglais ou en fran?ais). Les soumission seront envoy?es par courriel ? cette adresse: ems2010@ems-network.org ? -------------- next part -------------- Skipped content of type multipart/related From marc.battier at paris-sorbonne.fr Tue Oct 20 02:37:30 2009 From: marc.battier at paris-sorbonne.fr (Battier Marc) Date: Tue Oct 20 02:37:49 2009 Subject: [Emsan-l] EMS 2010 Call on emsan-l Message-ID: Dear Friends, Sorry about the annoying MailScanner warning message: I can assure it's safe to access the Call for papers for EMS2010! We'll look into this and try to fix it for future messages. Thanks, Marc Battier From hrmi_99 at yahoo.com Sat Oct 24 11:36:23 2009 From: hrmi_99 at yahoo.com (hiromi ishii) Date: Sat Oct 24 11:36:38 2009 Subject: [Emsan-l] greetings for EMSAN day Message-ID: <975172.41089.qm@web65715.mail.ac4.yahoo.com> Dear EMSAN colleague composers, All the best for the EMSAN day Beijing on 28/10! Hope the EMSAN day will be successfully productive. ? Since the encounter of Eastern and Western cultures, many Asian composers experienced distortions through the aesthetic difference of the two and have been seeking ways for coexistence.? For example, there was a big wave in 20 century Japanese contemporary music in which composers of Western style music coped with this theme enthusiastically. They applied traditional Japanese instruments to their works as 'pure' sound materials ignoring their tradition and aesthetics. They composed music by juxtaposing traditional instruments together with western instruments (including electronic sounds), by inventing new playing techniques to produce never-heard sounds, and even by applying this distortion itself to structure music. Many innovative works have been composed, but on the other hand, many composers re-found traditional Japanese music, because they found that music appears more powerful when an instrument is used based on its own sound aesthetics.? Nowadays, composers of electroacoustic music? have a powerful tool; the computers. Using the digital technology, we can go farther. Composers can transform any sounds in various ways, even to produce remote characteristics from their originals.? Here, however, composers will face a question; In what way process sounds? and why? In what way structure music?and why? To answer these, establishing the originality of Asian EA music is essential. Researches and investigations from the viewpoint of EA music on our traditional music & sound cultures are indispensable for its future development. Our Asian aesthetic-based electroacoustic music is surely a part of (Western-origined) electroacoustic music, but at the same time, it will be as a 'new' genre of Asian 'traditional' music in future centuries. Only electroacoustic music enables us to bridge between different sound cultures and musical traditions, as it offers quite an innovative context of music in which composers can create a very delicate and close relationship between them. With my best wishes to all participants, Dr. Hiromi Ishii Composer/Curator of media art & visual music -------------- next part -------------- HTML??????????????????????????????. URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20091024/b09c2449/attachment.html From kevin.austin at videotron.ca Sat Oct 24 12:49:52 2009 From: kevin.austin at videotron.ca (Kevin Austin) Date: Sat Oct 24 12:50:01 2009 Subject: [Emsan-l] greetings for EMSAN day In-Reply-To: <975172.41089.qm@web65715.mail.ac4.yahoo.com> References: <975172.41089.qm@web65715.mail.ac4.yahoo.com> Message-ID: <8B56A0BE-E175-4629-A22B-640AFE8A259B@videotron.ca> Thank you. I too send my best wishes for a successful and fruitful meeting and future. My own experience here has been described as a 'caucasian in qi pao' (traditional chinese dress, cheongsam). My interests in the composition of four pieces for guzheng and fixed media, was in presenting new music to an audience that did not have contact with "new music" -- the owners and patrons of restaurants in a western "Chinatown". In response to Dr Ishii's comment > Nowadays, composers of electroacoustic music have a powerful tool; > the computers. Using the digital technology, we can go farther. > Composers can transform any sounds in various ways, even to produce > remote characteristics from their originals. > > Here, however, composers will face a question; In what way process > sounds? and why? In what way structure music?and why? > These pieces (linked below) are not "new musics" in the [western] experimental music tradition, but are 'new' when placed in the context of, for example, the Twelve Girl Band. It was not my intention to invade or steal from oriental cultures, but (partly because of the audiences), to respect the cultures I was coming in contact with, and to in a sense pay homage to both east and west. The first three are based on traditional chinese melodies, and are in effect ea accompaniments to established pieces. I did not compose the part played by the guzheng, and (merely) sought to 'enhance' and provide (another context) for the existing works. I asked the performer to help me understand what to do, and how to do it. She told me stories. I took the images, titled the pieces, and created the ea elements using only the sounds of a guzheng. As Dr Ishii notes however, some of these sounds appear as quite distant from the source, for example the opening "gong", and later, the "crickets". The three pieces: Temple http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=971 http://cec.concordia.ca/electrobox/sonus02/Austin_Chou_Temple.mp3 High Moon http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=972 http://cec.concordia.ca/electrobox/sonus02/Austin_Chou_High_Moon.mp3 Moonlit Night http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=973 http://cec.concordia.ca/electrobox/sonus02/Austin_Chou_Moonlit_Night.mp3 will not be programed in concerts of new music, nor in concerts of traditional music, in either east or west, for they fall outside of the aesthetics of new music in the west, and of traditional musics in the east Waves and Tides of Time is a more complex situation for it builds upon my experiences with the first three pieces. In Waves, I composed the guzheng material, and with the collaboration of Chih-Lin Chou, was able to turn my sterile notes into living musics. The structure is multi-cultural being based on the five (eastern) elements, clearly audible, and five modalities of a non-chinese pentatonic structure. I was surprised to hear comments that the most "fearful" part of the piece was that of "earth". Many in the audience who had lived through earthquakes in Taiwan related directly to the sounds in ways that I had not ever considered. http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1501 http://cec.concordia.ca/electrobox/sonus03/Austin_Waves_performance.mp3 This work was also programed for a similar event in Beijing in the autumn of 2004, Qi and Complexity: http://portal.unesco.org/culture/en/ev.php-URL_ID=19170&URL_DO=DO_TOPIC&URL_SECTION=201.html A number of works that Dr Ishii may be making reference to regarding oriental composers working with western (orchestral) idioms are available inexpensively on Naxos CDs. I recommend them highly for their historical and cultural importance. And I must not forget, The Map, by Tan Dun, available in both chinese and english versions on Deutsche Grammophone DVDs. Best wishes to all on the second day of shuangjiang, the arrival of hoar frost. Kevin A fifth piece in this series is for guzheng, chinese percussion, violin, video by Freida Abtanm and 12-channel sound, is far removed from traditional oriental roots. http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1844 and http://cec.concordia.ca/electrobox/sonus03/Austin_Masks_Mirrors_Shadow.mp3 The guzheng is tuned in a scordatura fashion as is now not unusual in the advanced guzheng repertoire, and there is a Berg Violin Concerto quote near the end. On 2009, Oct 24, at 1:36 PM, hiromi ishii wrote: > > Dear EMSAN colleague composers, > > All the best for the EMSAN day Beijing on 28/10! > Hope the EMSAN day will be successfully productive. > > Since the encounter of Eastern and Western cultures, many Asian > composers experienced distortions through the aesthetic difference > of the two and have been seeking ways for coexistence. > For example, there was a big wave in 20 century Japanese > contemporary music in which composers of Western style music coped > with this theme enthusiastically. They applied traditional Japanese > instruments to their works as 'pure' sound materials ignoring their > tradition and aesthetics. They composed music by juxtaposing > traditional instruments together with western instruments (including > electronic sounds), by inventing new playing techniques to produce > never-heard sounds, and even by applying this distortion itself to > structure music. Many innovative works have been composed, but on > the other hand, many composers re-found traditional Japanese music, > because they found that music appears more powerful when an > instrument is used based on its own sound aesthetics. > Nowadays, composers of electroacoustic music have a powerful tool; > the computers. Using the digital technology, we can go farther. > Composers can transform any sounds in various ways, even to produce > remote characteristics from their originals. > Here, however, composers will face a question; In what way process > sounds? and why? In what way structure music?and why? > To answer these, establishing the originality of Asian EA music is > essential. Researches and investigations from the viewpoint of EA > music on our traditional music & sound cultures are indispensable > for its future development. > > Our Asian aesthetic-based electroacoustic music is surely a part of > (Western-origined) electroacoustic music, but at the same time, it > will be as a 'new' genre of Asian 'traditional' music in future > centuries. Only electroacoustic music enables us to bridge between > different sound cultures and musical traditions, as it offers quite > an innovative context of music in which composers can create a very > delicate and close relationship between them. > > With my best wishes to all participants, > Dr. Hiromi Ishii > Composer/Curator of media art & visual music > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l -------------- next part -------------- Skipped content of type multipart/related From kfields at ucalgary.ca Sat Oct 24 18:29:29 2009 From: kfields at ucalgary.ca (Ken Fields) Date: Sat Oct 24 18:29:50 2009 Subject: [Emsan-l] See it Live: Telemusic Concert between Bejing/Calgary/Vancouver Message-ID: <5B58D833-DAC1-4BA8-A005-D632085E1B17@ucalgary.ca> TELEMUSIC Concert at MUSICACOUSTICA 2009 October 27th, 10am (Beijing): October 26th, (Calgary 8pm, Vancouver 7pm) 2009. Locations: China's Central Conservatory of Music, (The Center for Electroacoustic Music in China) University of Calgary, (Syneme Lab) Emily Carr University Art Design, (Intersection Digital Studio's Motion Capture Studio) China Electronic Music Center (CEMC) at China's Central Conservatory of Music and the Electroacoustic Music Association of China in Collaboration with the Canadian Electroacoustic Community (CEC) presents the 2009 Musicascoustica festival featuring a telemusic concert with Canadian artists from Calgary and Vancouver presenting interactive pieces with their counterparts in Beijing. Program at: http://syneme.ucalgary.ca/CemcTelemusic2009 Streaming at: http://musicacoustica2009.ccom.edu.cn/ (Live: top right of page) At University of Calgary: Performance in the Syneme Lab (655A) and Sonic Arts Lab (655B), 8pm to 10pm Dr. Kenneth Fields Canada Research Chair, Telemedia Arts Associate Professor, Department of Music Adjunct Associate Professor, Computer Science kfields@ucalgary.ca http://syneme.ucalgary.ca -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20091024/8bf4f6ea/attachment.html From Marc.Battier at paris-sorbonne.fr Sun Oct 25 03:00:51 2009 From: Marc.Battier at paris-sorbonne.fr (Battier Marc) Date: Sun Oct 25 03:01:04 2009 Subject: [Emsan-l] greetings for EMSAN day In-Reply-To: <975172.41089.qm@web65715.mail.ac4.yahoo.com> References: <975172.41089.qm@web65715.mail.ac4.yahoo.com> Message-ID: Dear Hiromi-san, Thank you for your most welcome insight and your thoughtful remarks. Would you allow me to read your message during the panel discussion of the EMSAN Day, this coming Wednesday? Kind regards, Marc > > Dear EMSAN colleague composers, > > > All the best for the EMSAN day Beijing on 28/10! > Hope the EMSAN day will be successfully productive. > ? > Since the encounter of Eastern and Western cultures, many Asian composers > experienced distortions through the aesthetic difference of the two and > have been seeking ways for coexistence.? > For example, there was a big wave in 20 century Japanese contemporary > music in which composers of Western style music coped with this theme > enthusiastically. They applied traditional Japanese instruments to their > works as 'pure' sound materials ignoring their tradition and aesthetics. > They composed music by juxtaposing traditional instruments together with > western instruments (including electronic sounds), by inventing new > playing techniques to produce never-heard sounds, and even by applying > this distortion itself to structure music. Many innovative works have been > composed, but on the other hand, many composers re-found traditional > Japanese music, because they found that music appears more powerful when > an instrument is used based on its own sound aesthetics.? > Nowadays, composers of electroacoustic music? have a powerful tool; the > computers. Using the digital technology, we can go farther. Composers can > transform any sounds in various ways, even to produce remote > characteristics from their originals.? > Here, however, composers will face a question; In what way process sounds? > and why? In what way structure music?and why? > To answer these, establishing the originality of Asian EA music is > essential. Researches and investigations from the viewpoint of EA music on > our traditional music & sound cultures are indispensable for its future > development. > > > Our Asian aesthetic-based electroacoustic music is surely a part of > (Western-origined) electroacoustic music, but at the same time, it will be > as a 'new' genre of Asian 'traditional' music in future centuries. Only > electroacoustic music enables us to bridge between different sound > cultures and musical traditions, as it offers quite an innovative context > of music in which composers can create a very delicate and close > relationship between them. > > > With my best wishes to all participants, > Dr. Hiromi Ishii > Composer/Curator of media art & visual music > > > > _______________________________________________ > This message was sent to all subscribers of emsan-L > To unsubscribe, see instructions at: > http://www.ucalgary.ca/it/email/mailman > > E-mail: emsan-L@mailman.ucalgary.ca > Homepage: http://mailman.ucalgary.ca/mailman/listinfo/emsan-l > From mikakom at sda.nagoya-cu.ac.jp Sun Oct 25 06:49:16 2009 From: mikakom at sda.nagoya-cu.ac.jp (Mikako Mizuno) Date: Sun Oct 25 06:49:24 2009 Subject: [Emsan-l] greetings for EMSAN day In-Reply-To: <8B56A0BE-E175-4629-A22B-640AFE8A259B@videotron.ca> References: <975172.41089.qm@web65715.mail.ac4.yahoo.com> <8B56A0BE-E175-4629-A22B-640AFE8A259B@videotron.ca> Message-ID: <7115811f0910250549j45351fc5p6ca8646594d2724e@mail.gmail.com> Skipped content of type multipart/alternative-------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpg Size: 13351 bytes Desc: not available Url : http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20091025/b7531c62/attachment.jpg From hrmi_99 at yahoo.com Sun Oct 25 12:29:32 2009 From: hrmi_99 at yahoo.com (hiromi ishii) Date: Sun Oct 25 12:29:41 2009 Subject: [Emsan-l] greetings for EMSAN day In-Reply-To: <8B56A0BE-E175-4629-A22B-640AFE8A259B@videotron.ca> Message-ID: <963196.63518.qm@web65713.mail.ac4.yahoo.com> Dear Kevin,Thank you very much for introducing your works which are beautiful examples!Also thanks very much for the very honest explanations for your composition process and experiences, and detail informations to support my message.Warmest wishes,Hiromi -------------- next part -------------- HTMLの添付ファイルが除去されました. URL: http://mailman.ucalgary.ca/pipermail/emsan-l/attachments/20091025/6912c64e/attachment.html