Last Day of Festival
Workshop – Talk – Concert
Seminar – Talk – Concert
14 September 2024
Max/MSP for beginners
Advanced Max/MSP
Sanandaj Electroacoustic Music Festival
7:00 PM - 9:00 PM, In person Concert
Pieces of RKC 2024
Live Events
Workshop
Max/MSP for beginners
Summary
In this meeting we observe how deeply the development of technology influences the way we create music and visual arts, we also observe how music and art sometimes drives the development of technology forward.
These wonderful technological possibilities are very positive, but might turn us – composers/artists – into ‘users’ or ‘consumers’, our creative work might become ‘controlled’ by the readily available – so called – unlimited possibilities that the latest machines and softwares offer us.
The Max/MSP workshop tries to liberate the participants from this dependence on impressive software, by building as a contrast – step by step – small projects that are far from unlimited, the software we will build is instead always aiming at a specific approach to sound design or to the design of a musical composition or work of visual art.
We explore the Max/MSP visual patching environment, within Max we might make excursions into Jitter and a bit into Gen.
With Max we can realise an old ideal: data is data, our concepts for musical composition can be translated into f.i. visual works – or the other way around.
By building – while at the same time discussing the background of these little projects – we might start to understand what kind of signal processing is going on in the large-scale software packages like Cubase, Ableton Live, Reaper or LogicPro, we will discuss how the diverse plug-ins operate on the sound signals or on MIDI-data. Based on that knowledge later projects will teach you how to write your own plug-ins for Max for Live – that is Max/MSP integrated into Ableton Live or for VST.
So for all of you who are regular users of technology to compose, or all who really like to focus more on sound design, or all who think about designing installations for outside the concert hall, or all who think about the connection between visual art and their own music or dream of the audience as participants in their work by allowing them to interact directly with the composition, this Max/MSP workshop might be ‘just what the doctor ordered’.
Max/Msp for beginners is for when you start with Max, we will discuss the basic building blocks and how they can interact to make some interesting little ‘music machines’.
Biography
Biography
Workshop
Advanced Max/MSP
Summary
In this meeting we observe how deeply the development of technology influences the way we create music and visual arts, we also observe how music and art sometimes drives the development of technology forward.
These wonderful technological possibilities are very positive, but might turn us – composers/artists – into ‘users’ or ‘consumers’, our creative work might become ‘controlled’ by the readily available – so called – unlimited possibilities that the latest machines and softwares offer us.
The Max/MSP workshop tries to liberate the participants from this dependence on impressive software, by building as a contrast – step by step – small projects that are far from unlimited, the software we will build is instead always aiming at a specific approach to sound design or to the design of a musical composition or work of visual art.
We explore the Max/MSP visual patching environment, within Max we might make excursions into Jitter and a bit into Gen.
With Max we can realise an old ideal: data is data, our concepts for musical composition can be translated into f.i. visual works – or the other way around.
By building – while at the same time discussing the background of these little projects – we might start to understand what kind of signal processing is going on in the large-scale software packages like Cubase, Ableton Live, Reaper or LogicPro, we will discuss how the diverse plug-ins operate on the sound signals or on MIDI-data. Based on that knowledge later projects will teach you how to write your own plug-ins for Max for Live – that is Max/MSP integrated into Ableton Live or for VST.
So for all of you who are regular users of technology to compose, or all who really like to focus more on sound design, or all who think about designing installations for outside the concert hall, or all who think about the connection between visual art and their own music or dream of the audience as participants in their work by allowing them to interact directly with the composition, this Max/MSP workshop might be ‘just what the doctor ordered’.
Advanced Max/Msp is for those of you who have already some practical experience in building Max patches.
Biography
With the support of the Scientific Music Association of the Faculty of Art and Architecture, the Cultural Affairs Office of the University of Kurdistan, the Creative City Secretariat, and the Municipality of Sanandaj, a festival was scheduled to be held on June 1-2, 2024, focused on electroacoustic music at the university. However, due to the helicopter crash involving the President of Iran and the subsequent official closure, the event has been postponed.
Sanandaj, due to its historical involvement in music activities (ranging from annual folk music celebrations to recent festivals and events in various musical fields), has been designated by UNESCO as a Creative City of Music.
The Sanandaj Electroacoustic Music Festival will feature the renowned musician Shahrokh Khajenouri, with participation from the Yaarava music group and many other Iranian musicians both domestic and international. The festival will include a series of seminars and two concerts showcasing electroacoustic works, live electronic music, and performances with Western and Iranian instruments in solo and ensemble formats.
It is noteworthy that this festival is being organized and managed by a group of musicians including Mahdi Behboudi, Hamid Haseli, Mahdi Jalali, Mostafa Janloo, Karan Salajegheh and Amir Timouri.
Talk
Sanandaj Electroacoustic Music Festival
Amir Teymuri, Hamed Haseli, Mostafa Janlou & Karan Salajeghe
Live on Instagram
Wednesday September 14, 2024 | 10:30 PM Tehran Time
Concert
Location: Music Museum
Pieces by Arvin Sedaghatkish, Ehsan Ebrahimi, Robin Hoffmann, Amir Teymuri, Karan Salajeghe, Mehdi Behbudi, Arsalan Abedian
Biography
Summary
Alqasa’id
Piece for Viola, electronics, and voice of Adonis.
Dedicated to Arabic poetry.
القصائد
قطعة للفيولا، الالكترونيات وصوت أدونيس.
مخصص للشعر العربي.
Summary
A New Horizon
This piece, for me, represents a departure from traditional, familiar forms, seeking to create a novel structure distinct from its origins.
A key aspect of this composition is the interplay between proximity and distance from the original piece, forming a bridge between acoustic and instrumental spaces.
The rhythmic and metric form of the piece introduces a new structure in meter and rhythm, allowing the listener to simultaneously perceive two rhythmic and metric patterns, creating a dialogue between them.
Another facet of the form is the melodic structure. This piece is based on the chaharmezrab in Abu’Ata by the esteemed master Jalil Shahnaz. However, by departing from the original (Abu’Ata) and incorporating elements from other musical styles and forms, a distant yet intimate space is created.
The tonal color, achieved through modifications to the original tar sound and the arrangement of instruments with diverse tonal colors, also contributes to the unique form of this piece.
Biography
Biography
Summary
State Transitions (2024, 4-channel electronic)
“Transition” is an umbrella term that takes on different meanings across various fields of the humanities and natural sciences. In linguistic usage, however, transitions consistently imply features that could hardly be more contradictory: A transition is a dynamic process – a transformation, a metamorphosis of the same thing. It is an evolutionary process where nothing entirely new is ever created; rather, everything is a further development of the old. At the same time, a transition is static, as it always concerns the same thing – the same thing that, through iterations and generations, undergoes changes in all or some of its features. It is therefore also a loop, a repetition. I am fascinated by this paradox of transitions and transformations.
In my composition, three musical gestures running parallel to one another undergo transformations in their formal macrostructure, resulting in different musical sound structures and relationships. Transitions are created between a starting point and an endpoint, producing coherent and “harmonious” musical progressions. This piece was composed for the “Yarava Music Group” and on the occasion of the 6th TIEMF.
Summary
Neyflowertime
The part written for the Ney in this piece is based on different melodic ideas, namely some fragments taken from the recordings of Zaman Khairi, influenced by Naib Asadullah, the Nay player from the Qajar time.
Making interruptions by placing rests on some pitches, is an endeavor to create a texture that makes a dialogue with the electronic part – live recording of the sound of Ney, monitored with delays and transformations, along with some syntheses of sounds made by computer.
Biography
Biography
Summary
“Harassment in the workplace”
“Harassment in the workplace” is a painful effort for me to extract a piece of music from a person’s everyday life and prepare it for CD. I say “painful” because including what does not want to be recorded in an 8-minute recording is like imprisoning a person in the city; in a human zoo. And as simple and normal as life in the city seems, it is scary and sickening. This piece tries to remember all those who were harassed in the workplace in any way and did not say anything just for their economic survival.
Summary
“\a”
The ASCII codes attributed to the Escape key are used in this piece as sources for musical inspiration. The decimal code 27 for the pitch and the binary code 001 1011 for the rhythmical patterns. Wrong commands happen very often, be it during a recording or in a situation with live electronics (e.g. feed back, distortion, or a looped delay in the buffer), which can be cancelled by means of the Escape key, but not always! The title of the piece refers to the bell character, represented by the escape sequence: “\a”.
Biography
Concert
Pieces of RKC 2024
Biography
Summary
A wandering glimmer traces its solitary path…
This Piece is a stereo fixed media composition based on the sounds of the “Ney” instrument and vocals created using CsoundQt and Audacity. The full title of the piece is “Within a room shrouded from the light’s caress, a wandering glimmer traces its solitary path”. Sohrab Sepehri poem Unanswered has significantly influenced the compositional process.
The form has been shaped into a coherent whole through the transforming sonic textures and various timbral contents, the simultaneous integration of sound fragments with diverse gestures and focal points makes its texture holophonic based on the Greek composer P.Kokoras’s theory.
Summary
Saharan Cypress
“Sarve badieh” is a piece for the Ney instrument and all the sounds in the piece are based on the sound of the Ney. Some sounds are created by techniques such as: sound stretching, granular synthesis, speed or frequency changes, etc., and some others are created by extended techniques such as airy sounds, etc. This piece is made for four audio channels and one of the obvious techniques in the piece is the panning technique. Sounds are split between channels or moved between channels by this technique.
This piece is named based on the situation of our country (Iran) in recent years and refers to the endurance of cedar.
Biography
Biography
Summary
A little play with light on the mirror
The miniature “A little play with the light on the mirror” is an electro-acoustic piece for “C flute” accompanied by live effects and pitch changes. The sound reflection and harmony between the sound of the instrument and the sound that harmonizes with him with the delay effect are on the agenda in this piece. A musician plays alone on stage with himself, he is his first audition and accompaniment. The sounds of the production are reflected by the change, and it passes itself on the next melodies, and a new color is created.
Summary
Gusfand Dukhan (Shepherd’s Calls)
The Gosfand Dukhan is a term used in various geographical regions of Iran to refer to the sounds, whistles, or calls that shepherds use to guide and gather their sheep. This term is also recognized in Iranian regional music as one of the melodic modes of the shepherd’s flute (Ney) in regions such as the summer pastures of Gilan and the Bakhtiari tribes. For writing this piece, I used the modes and some techniques of the shepherd’s flute (Ney) and, alongside it, recorded various sounds from the Instrument, the sound of the sheep’s bell, the sounds of giving commands to the flock, and so on, and processed them using the Aducity software.
Biography
Biography
Summary
College is derived from the stress caused by society. Disorder, diverse goals
Summary
Fragments
How can we forget something that is the proof of our existence? How can a drop of the sea or river move against the current, against the flow? How can we act against society when we know that something has naturally matured, and has been fully ripened as a flow? If we do so, how inauthentic we are.
has been enclosed in details in two files.