Forth Day
Seminar – Workshop – Masterclass – Talk – Concert
Lecture – Talk – Concert
10 September 2024
On Berlin–based trio for live electroacoustic music "Lange//Berweck//Lorenz"
Theorbo Extended Techniques
Composition and world view
Curated by Tolga Tüzün
07:30 PM - 10:00 PM | In person Concert
07:30 PM - 10:00 PM | In person Concert
Live Events
Seminar
On Berlin–based trio for live electroacoustic music “Lange//Berweck//Lorenz”
Summary
Stries is a 50 minute long composition by Bernard Parmegaini written for the Parisian synthesiser trio tm+ in 1980. It consists of three parts. I will present the beginning of the third part and how we restored the piece.
Biography
Biography
Workshop
Theorbo Extended Techniques
Summary
Theorbo Extended Techniques
Next “Reza Korourian Awards” 2025 will be announced for Theorbo, Tar and electronics. 6th Tehran International Electronic Music Festival will present two Workshops for the extended techniques of Theorbo and Tar instruments.
Masterclass
Karen Keyhani & Joachim Heintz
The Language of this masterclass is Persian/English.
Joachim Heintz will present in person at Cage House and Karen Keyhani will conduct his session online via Skype.
Joachim Heintz
After studying literature and art history, Joachim Heintz began his composition studies in 1995 with Younghi Pagh-Paan and Guenter Steinke at the Hochschule fuer Kuenste, Bremen. He composes for instruments and electronics, concerts, installations and performances. With his software instrument ALMA he has improvised with many musicians around the world. He is a member of the Theater der Versammlung Bremen and writes texts which are published in journals and in his Schrenz Verlag. In the realm of software development, he is active in the open source projects Csound and CsoundQt. He is the head of FMSBW, the electronic studio in the institute for contemporary music at HMTM Hannover, and of the electronic department of Yarava Music Group in Tehran. A board member of the Hanover Society for Contemporary Music (HGNM), he organises and hosts workshops, discussions and concerts as encounters between traditional Asian instruments and contemporary music.
Karen Keyhani
Karen Keyhani (b.1979) belongs to the new movement of contemporary music in Iran; a movement that has its roots as much in Persian classical music as in Western contemporary classical music. As a composer and Santour player Karen has been inspired by contemporary and classical poetry as well as traditional music.
Karen’s music covers a wide range of contemporary classical and Persian traditional music, collaborative improvisation, music for theatre, performance art and children’s musical theatre. His music has been commissioned, performed and recorded by several ensembles and orchestras such as Tehran Symphonic Orchestra, Iran National Orchestra, Musikfabrik (Cologne), Proton (Bern), Divertimento (Milan), MAM (Cologne-Berlin), Matka (Geneva), Mise-en (NYC), Nivak ensemble (Tehran), and soloists such as Bridget Kibbey (NYC), Elise Jacoberger (Bern), Layla Ramezan (Lausanne), Rocco Rescigno (Trieste), and Martina Rudic (Milan) among others. During recent years, he has released seven solo and collaborative albums in Iran and the United States and his scores have been published by Mahoor Institute of Culture and Arts in Tehran.
Summary
Composition Masterclass with Selected Composers of RKC 2024
Joachim Heintz and Karen Keyhani
The Language of this masterclass is English and is just for RKC 2024 winners.
Location: Cage house
Biography
Oliver Schneller
Oliver Schneller (b. 1966 in Cologne) grew up in North Africa, Europe and Asia and studied in Germany and the USA. After completing a MA in musicology, history and political science at the University of Bonn he worked for the Goethe Institute in Kathmandu, Nepal (1990-91) on a project to support and sustain local forms of traditional musical practice. In 1994 he moved to the USA, first studying composition at the New England Conservatory in Boston, then at Columbia University New York as a student of Tristan Murail, where he received his doctoral degree in composition (2002) with a thesis on music and space. At the City University of New York he developed and expanded the CUNY Computer Music Studio. From 2000-01 he lived in Paris as a participant of the cursus annuel de composition et d’informatique at IRCAM/Centre Pompidou. As an assistant to Tristan Murail he taught composition and computer music at Columbia, and organised the “Lachenmann in New York” Festival in 2001. Throughout his studies, masterclasses with Salvatore Sciarrino, Jonathan Harvey, Brian Ferneyhough, George Benjamin and Vinko Globokar provided important orientations.
Rojin Monibi
Rojin Monibi (1993 Tehran, Iran) has a bachelor’s degree in Anthropology from University of Tehran, faculty of social sciences (2010-2014) and has continued her studies as a master student of music composition at the same university (2016-2019). She studied music theory and composition under supervision of Amirhossein Allahdadi, Kiavash Sahebnassagh, Sara Abazari, Amin Honarmand and Joachim Heintz. She has had collaborations with the well-known ensembles such as KNM-Berlin, Ensemble Horizonte, University of Tehran Contemporary Ensemble, Ensemble Zarvan, Allargando Ensemble and Sialan Quartet, Ensemble Recherche and Rogue Duo. She has also succeeded in achieving the second prize of Gilgamesh International Composition Competition 2021
Talk
Composition and world view
Oliver Schneller & Rojin Monibi
Live on Instagram
Tuesday September 10, 2024 | 10:30 PM Tehran Time
Introduction
Biography
Concert
Curated by Tolga Tüzün
Biography
Summary
The wind turns you into sand, white and gray and gray again
Belonging to nowhere and everywhere
You become more and more conspicuous
Unattended, waiting and howling
Shattered, offering no consolation to no one
Laughing, I become you
Grinding my teeth and white
Week after week we washed away our broken nights
Redder than ever, I tormented my own torture chambers
Left my incurableness intact, trusting no one and everyone at the same time.
(Tolga Tuzun, from Whispering Desert 2012)
Summary
I. sensations in the throat I
II. sonic catcher will linger in the mist.
III. sensations in the throat II—voice wants to tear the body.
IV. a river whale searching for a voice-ness in her blue essence.
Biography
Biography
Summary
The conceptual framework of the piece, which emerged as a result of a meticulous research process that delves into Cengiz Çekil’s life and artistic practice, is inspired by Çekil’s ironic statement on the dominant aesthetics of “Arte Povera” in Turkey in the period following the 1980 military coup d’état. Çekil’s idea on how art can exist in this ideological contamination, as well as Jacques Attali’s ideas on noise and order in his article “Noise and Politics” (1977), form the main structure of the work. Dirt and sterility, cycle and rebirth are also topics that were considered during the production process.
Summary
“A Light Stung the Darkness II” incorporates recorded musical material from the viola d’amore in collaboration with Marco Fusi. The piece aims to extend and reveal the instrument’s acoustic properties within a large timbral space. It features a dialogue between the instrument’s sympathetic strings and actual strings, achieved by manipulating their amplified sound. All parameters of the electronic manipulation are determined by the performer’s actions. The harmonic language is simple and deliberately limited, allowing a focus on timbral nuances that transform the straightforward harmony into something uniquely expressive.
Biography
Biography
Summary
“Grandma’s Sup.fer” a collection of my musical journey from 2024, presented through an electroacoustic rework, in a realm of familiar yet distant echoes, exploring the profound connections between sound and identity. Sounds that guide you through a space where I am recognized, understood, and embraced.
Experience a sensory exploration that delves into the depths of one’s desires and fears, questioning the essence of who you are and where you belong. “Grandma’s Sup.fer” invites you to reflect on your place in this complex auditory landscape.
Summary
Écrit Extatique is an electroacoustic piece that explores the world of free writing in steps such as blockage, opening, and discovery. The piece captures a multitude of thoughts, often chaotic and difficult to control, mirroring the intense and unpredictable nature of free writing.
The electronic sounds ebb and flow, creating a spectrum of auditory experiences from tranquil and delicate to intense and forceful, constantly morphing in texture and rhythm. It represents the internal dialogue of a writer, striving to navigate through the clutter of thoughts and emotions.
Biography
Concert | RKC 2022
Location: Persian Sound City
Biography
Summary
All the sounds in this piece are played by Tombak and the Whisper sound is recorded from inside of Tombak’s Body
Summary
In this work from the structural dimension, I work with anamorphosis of time.That is, the structure is based on the amount of attacks of each sound, which are calculated according to the millisecond unit. These attacks move in different sounds and create contrapuntal relations in time for us, on this structure, another structure is created according to the concept of continuity and discontinuity. I have also attached a diagram of temporal anamorphosis to make it easier to understand how this works.
Biography
Biography
Summary
Percussive poems; The piece is based on Dante’s Divine comedy -especially the “Inferno” part- and a poem from Iranian poet Reza Baraheni. The idea behind the piece comes from the “Circle” shape and the form of the piece related to the Divine comedy’s form which is “Terza Rima”. The “Percussive Poems” is a Three-Part Piece, Three poems for a Tombak and Electronic. The composer tries to narrate a tale in One piece but also in three parts, So It’s better to look at it like a three-part poem. The piece structure is like this : ABC or AB – C (A+B – parallel) In the A section we have a structure like this :ABA’ The C section is a combination form A and B.
Summary
Fear opens a door for fantasy to enter and because of that, human senses become unstable.
The fear of a hidden creature, a creature that cannot be seen by the sense of sight but whose existence is undeniable, shows itself around, in the form of sound, and attacks the listener from all sides. Excursion in a city like Pripyat creates such fear. Radioactive effects are roaming the city to find a victim for the Chernobyl monster, which is shown in this piece using a bongo instrument as the sound of the dosimeter. The sounds of the pulse, like the heartbeat, tell the listener’s anxiety and fear.
Biography
Biography
Summary
It’s all about the point of view. What if we were to treat musical instruments as if we were artificial intelligence in efforts to be acquainted with them?
What if we try to find how digital, electronic intelligence understands the world around us? Mathematically? How does it hear?
Noisy? Distorted? “2π0” is an investigation to redefine Tombak, no matter how it has been used in the past. It’s not an instrument anymore, just an object the piece is trying to examine
Summary
In a party in which the percussion are participated.
They can speak to each other rationally.
They can try to overcome each other.
They can ask questions and complain.
They can be happy or sad.
Biography
Biography
Summary
maginary Crisis” is a series of experimental electro-acoustic pieces of mine in which one instrument, field recordings, etc. are used as the main material as in this piece, some recordings of Tombak, which were performed by myself, were used as the main material. Some of the sounds are produced from the interaction between Tombak and Kamanche’s bow, a piece of Paper and Hands
Summary
maybe it’s a dream
it’s all a dream
A dream that will surprise me.
I will wake up in silence,
And I will never sleep again…
This work of Fixed Media is derived from the real sounds of space, the use of CSound, cymbals and influenced by Picasso’s graphic designs of constellations.
Biography
Concert | Selected Curators
Location: Persian Sound City
Biography
Summary
Enerzijds – Anderzijds
In Enerzijds – Anderzijds (On the One Hand – On the Other Hand) the loudspeakers are used as the sole performers producing the sounds. Most of the electronic sounds are recorded three times in an almost identical form: one recording is played solely by the left speaker, one recording is played only by the right speaker, the third recording is played by them both ‘in the middle’… When those three variations sound together, a miraculous spacious sound-world seems to emerge. Some sounds appear to jump directly from the loudspeakers.
The piece starts with the recording of the tearing off of a sheet of plastic, in a flower-shop.
Summary
The wind turns you into sand, white and gray and gray again
Belonging to nowhere and everywhere
You become more and more conspicuous
Unattended, waiting and howling
Shattered, offering no consolation to no one
Laughing, I become you
Grinding my teeth and white
Week after week we washed away our broken nights
Redder than ever, I tormented my own torture chambers
Left my incurableness intact, trusting no one and everyone at the same time.
(Tolga Tuzun, from Whispering Desert 2012)
Biography
Biography
Summary
Strings on a Railway Track
Title: Strings on a Railway Track Duration: 9 minutes
Line up: Fixed Media for 4 channel output Performance Date: May 24, 2024
Liner Notes:
The idea behind this piece was to link sounds that give a similar perceptual experience of other sounds but are different in their nature or sonic structure. A sound may partially resemble another sound, or morph into the state of another sound by transforming its perceptual qualities. In language, this is similar to speaking metaphorically. For example, ‘Time is Money’. Time is as valuable as money; its value being the common quality that allows the metaphor to be formed.
Summary
Hora’ot Pticha Be’esh
Hora’ot Pticha Be’esh means ‘rules of engagement’ in Hebrew. It is the first piece in the trilogy Rules of Engagement (2013-2019), which focuses on Israel’s war on the Gaza Strip in 2008/9 (Operation Cast Lead). The title refers to the directives given to soldiers before an operation as to what is permissible. This particular operation, in which around 1,000 Palestinian civilians were killed, lacked any such restrictions. The piece uses the original recording of an interview with a soldier by the Israeli NGO Breaking the Silence as a thread running through the music, combined with various sampled instrumental sounds.
Biography
Biography
Summary
I. sensations in the throat I
II. sonic catcher will linger in the mist.
III. sensations in the throat II—voice wants to tear the body.
IV. a river whale searching for a voice-ness in her blue essence.