2015 Shanghai Conservatory of Music’s International Electronic Music Week Concert Series
Limit? – Electronic Music Pieces of Emerging Artists in China
Time: 19:30, 2015/10/20
Location: Heluting Concert Hall
1. Series of Journal II – Ode to the Motherland
Compilation: keyboard, sampler and Video
Composer: Yuan Haoyu
I want to share my thoughts and the methods of using new media with this series of music to reveal the beauty of our contemporary oriental art. This piece of music originates from a well known classical patriotic song. The lyrics have had many different variations in different periods, each variation with an accompanying singing style to complement it. I was really amazed by the impressive changes this piece had undergone, and this is where I got the idea to use multi-media, samples and video for the piece to express itself in its fullness.
2. Limit? for Guitar and Electronic
Composer: JI Dongyong
“Is the world limitless? Is the world of sound limitless? Is the world of heart limitless? Is the music in heart limitless?”
The composer tries to answer his own question by utilizing the typical performance methods of guitar, such as, slide, sweep, harmonic, quickly moving notes and so on, which are combined with the processing for electronic music.
3. Jiang Xue for Guqin, 8 channels Electronics and Video
Qing Bo (Plainness), Dan Ran (Cool), and Ningjiang zhiyuan (Keep cool it will win). To use pitch processing of the Spectral music and through the computer modulation of Simple wave according to the harmonic series sampled of Guqin, and combined it with the deformation of sampling waveform of Guqin, it tried to express the individual specific imagination of the poem Jiang Xue (snow river), as well as a new acoustics realm of combination an artificial one with natural one. The software used: Spear, Max/Msp and etc.
4. Spiritual Dance for Pipa, Dizi and iPad
Composer: LIU Hao
Program Design: CHEN Shizhe
Pipa: SHU yin
The works focus on orderly rhythm and pitch sequence into at the same time, using the iPad as a virtual instrument, so that the listener can through the wireless network real-time control and synthetic electronic sound. In the two dimensions of traditional instrument sounds with electronic sound, music in the play and the audience two angles to achieve the interaction.
5. Three Etudes-tableaux No. Ifor Prepared Piano and Electro-Acoustic Music
The composer was inspired by Hong Ying’s poem “My growth”, who is a famous writer important in Chinese After-Misty poetry stream.This poem is from the volume called “illegal child” which is the first one of Album “I too am SALAMMBO”.
The piece is based on the different piano playing techniques and different processing methods of electro-acoustic music, mainlyfocusing on the different ways of combining prepared piano and electro-acoustic sounds.
6. Deep for 4.1 Surround Electronic Music and Real-time Visual
The universe from the beginning, the world of chaos.The Tao isunmatched. Its primal activity produced the two opposing principles in nature-negative and positive. These two principles interacted each other and then produced a balanceable state. All things of universe came into being in this state, and then, they formed their respective concordant individual in virtue of the surging and congruity of negative and positive.
The divine law is formless,its use is inexhaustible. It is endless, whence come all things. Inter media electronic music Deep use 4.1 channel audio electronics show, and playing the zither real-time interaction. Audio part by noise, sine wave, Chinese zither sound as the main material using electronic processing techniques and in live performances live performance, synthesis, reproduces the sound in 4.1 surround sound
system, intertwined intertwined, forming new three-dimensional sound field, to the audience to a new auditory experience. The visual part of the work is to use real time operation method, which makes the sound and the visual perfect.
7. TunTu for Alto Saxphone and Electronic Sounds
Tun“ and „Tu“ are two chinese characters. The former can be interpreted as the vastness of space in the universe and the latter refers to the motion of inhalation and exhalation. The selection of these 2 characters as a title is to express the construction of a large and differing timbral space using different combinations and contrasting timbres of the baritone saxophone and electronics.
The structure of the work is based on specific numbers of individual sound objects with unequal and differing length. The organisation of which is based on the principle of contrast and confrontation. Each sound object (and resultant timbre) is regarded as a composite of various and indefinite smaller individual composants. Every element of these smaller composants are linked by alternating, overlapping or inverting. And silence is used to link each tone.
I used various softwares to help me in the composition of the piece. For example:
I used C-sound like a plugin in OM to change the timbre and spectrum in order to obtain the electronic sounds.
In Audio Sculpt, I use the Partial tracking analysis and put the result in synthesise From Partials make the second time analyse, its results to obtain a clear frequence.
I also used Spectraldelay in MAX to obtain a moving band frequence in the electronic sound etc.
The work consist of 3 groups, the Electronics and Real-time processes and the virtuosic Baritone Saxophone part. The 3 groups are part of an indivisible whole that cannot be seperated. Any partial lost of its total sum would result in the other not being able to stand on its own.