Spring in Berlin / 06.04 KNM Berlin@ Free! Music, Haus der Kulturen der Welt, 14.05 Panos Ghikas @ Kontraklang, Heimathafen, 09.06 Erik Drescher @ Festival Encounterpoints

free HKW

06.04, 18h

Kammerensemble Neue Musik Berlin

Haus der Kulturen der Welt

Patrick Frank Theorieoper Freiheit – Die eutopische Gesellschaft, Version IV 

Martin Schüttler Absolut return + ALPHA for ensemble and live electronics

 

14.05, 20h 

toxic gum.png

 

 

 

 

http://kontraklang.de/

Toxic Gum

Panos Ghikas and Pavlos Antoniadis will give a 40 min performance designed around fixed compositions and free improvisations for (un)prepared piano, amplified strings, objects, inertial sensors, e-drums and electronics. A solo piano piece, Gum, serves as the springboard for a series of transactions that contain various degrees of risk. The fragile navigation of timelines and gestures is shaped through customised computer tools and toxic derivative concepts.

The project started in 2016 as «  Open Cycles: Embodied Navigation of Unreal-time improv » and is manifested in a variety of outputs, such as : scores, performances, fixed media compositions and academic presentations. Other collaborators include composer / saxophonist Nick Roth, programmer Tom Mudd and composer / percussionist Luis Tabuenca, with the scope towards larger ensemble applications.

Panos Ghikas is a composer, improviser and producer. His output encompasses concert music, live improvisation, interdisciplinary collaborations in digital media, film music and pop production. He is a member of surrealist post-pop band The Chap, runs the Migro Records label. Panos performs and releases collaborative multi-channel work with composer/improviser Jennifer Walshe in ‘unreal-time’ improv duo Ghikas and Walshe and performs violin and viola in free-improvisation groups ‘Friendo’ and ‘Bohman Bohman, Ghikas and Thomas’. Panos completed his PhD in Composition at Goldsmiths, University of London. He has a Masters in Composition for Film from the London College of Music and Media and a degree in Physics from the University of Patras, Greece. Panos Ghikas is now a Senior Lecturer at Canterbury Christ Church University.

Pavlos Antoniadis is a Berlin-based pianist for contemporary and experimental music and a PhD researcher at IRCAM and LabEx GREAM, Université de Strasbourg, where he also teaches computer music and contemporary performance. He has performed in Europe, the Americas and Asia with the new music ensembles Work in Progress-Berlin, Kammerensemble Neue Musik Berlin, Phorminx, ERGON and as a soloist. He has recorded for Mode (2015 Deutscheschallplattenkritikspreis) and Wergo records. He has worked with composers such as Mark Andre, Helmut Lachenmann, Brian Ferneyhough, Wolfgang Rihm, Pascal Dusapin, Tristan Murail and has premiered solo piano works by James Erber, Nicolas Tzortzis, Luis Antunes Pena, Dominik Karski and others. He has published on embodied cognition, gesture capture and contemporary piano performance and has been invited for lecture-performances (HfM Dresden, INMM Darmstadt, IRCAM Paris, Orcim Gent, Goldsmiths London, Trinity Dublin, Aristoteleio Thessaloniki, Cité de la Musique et de la Danse Strasbourg, Hong Kong University, Yamanashi Gakuin University Kofu, Wocmat Taiwan). He was a Musical Research Residency fellow at IRCAM in 2014, where he developed GesTCom, an interface for the gestural control of complex notation, in collaboration with F. Bevilacqua and D. Fober. Pavlos holds degrees in piano performance (MA, UC San Diego) and musicology (Athens National University). He has studied on LabEx GREAM, Fulbright, UC San Diego, Nakas conservatory, IEMA Frankfurt and Impuls Academy Gratz scholarships.

 

 

09.06, 20h

erik flute.jpg

Encounterpoints poster

Festival Encounterpoints

Works by Andreas Staffel, Klaus Lang, Salvatore Sciarrino (fl), Wieland Hoban (pno)

Erik Drescher, flute

Pavlos Antoniadis, piano

 

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10-13.02 + 02.04 / asia overdose @ köln, trier, darmstadt, tübingen

dragon-refugee-kids

TENDENCIES — Aspects of Japanese Contemporary Music

10 February 2017, 7:00 p.m.
Japan Foundation, Cologne
Universitätsstraße 98, 50674 Köln, Germany

11 February 2017, 9:00 p.m.
TUFA, Trier, Great Hall
OPENING 2017 — International Festival of Contemporary Soundart
Tuchfabrik Trier, Wechselstraße 4-6, 54290 Trier, Germany

Joji Yuasa: Horn Locus (European Premiere) — A Winter Day – Homage to Basho –
Hiroyuki Yamamoto: Contour-ism VI (European Premiere)
Tomoko Fukui: doublet + 1 (European Premiere)

Toru Takemitsu: Rain Spell

WORK IN PROGRESS — BERLIN
Conductor: Gerhardt Müller-Goldboom

http://www.workinprogress-berlin.de/en/concerts.html

https://www.facebook.com/events/970924313039767/

13 February 2017, 7:30 p.m.

Darmstadt, Akademie für Tonkunst
EAST_WEST

Werke von Ziuha Tan, Jan Kopp, Achim Bornhöft,
Eui-Hong Park, Volker Blumenthaler, Il-Ryun Chun

02 April 2017, 7:30 p.m.

Tübingen – Neue Musik im Sudhaus
EAST_WEST

Werke von Ziuha Tan, Jan Kopp, Achim Bornhöft,
Eui-Hong Park, Volker Blumenthaler, Il-Ryun Chung

ENSEMBLE PHORMINX

http://www.sudhaus-tuebingen.de/aktuell/program.php

http://www.ensemble-phorminx.de/phorminx-links/ph-kal2.html

https://www.facebook.com/events/1614987381852668/

 

autumn+ 2016

17.09

XVI. Internationaler Kongress der GfM @ uni-mainz

Verkörperung des inneren Hörens in Mark Andres frühem Klavierwerk

http://www.gfm2016.uni-mainz.de/files/2015/08/Details-Samstag-17.-September-2016-Saturday-17-september-2016.pdf

forthcoming publication by Schott

22.09 

New Notations Symposium @Ircam

http://www.sonicwriting.org/ircam.html

Old notation, new interface: embodied navigation of complex piano notation with the GesTCom

17.10

Work in Progress @ Haus am Waldsee, Berlin

haus-am-waldsee2

EARLE BROWN and MORTON FELDMAN: Protagonists and Developers of Graphic Notation

brown score.jpg

http://www.workinprogress-berlin.de/en/concerts.html

29.10

iCLA poster.jpg

Music and the Brain@iCLA, Kofu, Japan

Works by  James Erber (WP), Yuji Takahashi, Iannis Xenakis, Brian Ferneyhough, Toru Takemitsu

Gesture Cutting through Textual Complexity: A model and a Tool for the Embodied Navigation of Complex Notation

http://www.musicla.info/single-post/2016/10/17/2016-Music-and-the-Brain-Event-Schedule

13.11

Résonances électriques @ Shadok, Strasbourg

Captation du geste instrumental et l’interaction, with Frédéric Bevilacqua

pavlos studio.jpg

https://www.facebook.com/events/1736963479962694/

http://www.resonanceselectriques.eu/portfolio/captation-geste-instrumental-interaction/

21.11

Ensemble Phorminx – Perspektiven @Sudhaus Tuebingen

Kompositionen von: Georg Friedrich Haas, Achim Bornhöft, Karola Obermüller, Volker Blumenthaler und Cornelius Schwehr

http://www.sudhaus-tuebingen.de/aktuell/16745.php

08.12

stelarc

Körperliche Navigation mittels interaktiver Systemen in Brian Ferneyhoughs Klavierkomposition Lemma-Icon-Epigram

Forthcoming publication for the

70. Frühjahrstagung des INMM Darmstadt
„Body sounds. Aspekte des Körperlichen in Neuer Musik“

10.12

KULT.jpg

30 Jahre Edition Zeitgenössische Musik @ Deutschlandfunk Köln

Luis Antunes Pena K-U-L-T für Klavier und Live-Elektronik

http://www3.musikrat.de/index.php?id=3217/

13.12

BR Klassik | “Schwarz-weiß-bunt” – Klaviermusik von heute mit Live-Elektronik und Zuspielungen. Eine sendung von Julia Schölzel mit Ausschnitten von K-U-L-T sowie Werken von Haas, Belet, Winkler, Wassiljew and André

14-16.12

Forum IRCAM-Wocmat Taiwan @ Kainan University

Screen Shot 2016-12-26 at 13.48.13.pngwocmat1.jpg

wocmat-1

http://forumnet.ircam.fr/event/forum-ircam-workshop-hors-les-murs-2016-taiwan/

http://wocmat-ircam.strikingly.com/

05-06.07 / moco16 @Megaron, Thessaloniki

 

moco16.movementcomputing.org

Simulation of learning Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano with GesTCom

Pianist Pavlos Antoniadis presents interpretational possibilities in Brian Ferneyhough’s solo piano work Lemma-Icon-Epigram in the form of a real-time simulation of the learning process. His approach, by the title “embodied navigation”of textual complexity, is informed both from embodied cognition concepts and cutting-edge technologies for gesture capture. Purpose of this lecture-performance is to make palpable the tension between text and act as aesthetic concept. He utilises a prototype system by the name GesTCom developed at Ircam with the collaboration of Frédéric Bevilacqua and Dominique Fober.

The presentation is based on the paper “Comparison of gestural patterning and complex notated rhythm via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phases 1&2″.  In the preface to his piano work Lemma-Icon-Epigram, Brian Ferneyhough proposes a top-down learning strategy: Its first phase consists in an “overview of gestural patterning”, while notated rhythms are to be dealt with at a second phase. We present a methodology for the inference of gestural patterning from multimodal performance data (first phase), and we map our results on to the complex notated rhythms (second phase). The coupling of physical movement patterns and symbolic rhythm affirms the multilayered, embodied and enactive nature of musical forms: Gesture might be proven more effective than abstract understanding in dealing with musical rhythm. This work draws equally from embodied cognition, gesture modelling, performance practice and music analysis. Future perspectives include the probabilistic modelling of gesture-to-notation mappings, towards the design of interactive systems that will be learning along with the performer while cutting through textual complexity. The proposed demo re-enacts Ferneyhough’s suggested top-down learning strategy based on a gestural patterning and measures varied performances against this patterning through the use of the motionfollower and the INScore joined together with the GesTCom (gesture cutting through textual complexity).

02.07 /music as process @ Bath Spa University

Screen Shot 2016-07-03 at 09.46.44

https://musicandasprocess.org/2016/05/08/music-andas-process-conference/

Open Cycles: Embodied Navigation of Unreal-time improv

watch video

This lecture-recital will present the results of a collaborative process between two complimentary research projects: Panos Ghikas’ concept of Unreal-time improv, that approaches improvisation and composition as interchangeable and/or complementary strands of music-making; and Pavlos Antoniadis’ concept of Embodied Navigation of Complex Notation, which explores a similar fluidity between the realms of gesture, notation and sound in piano performance.

Unreal-time improv is a process by which a recording of an improvisation is converted into a gestural matrix of samples, projected through the use of software onto the layout of specially configured and designed interfaces (e-drums, iPads, MAX). The resulting meta-instrument facilitates new types of physical memory for the improviser, transforming the manner in which the gestural material can be temporally re-pronounced.

In this collaboration, Unreal-time improv is deployed from a new starting point: fixed composition is subjected to a process of progressive transmutation through an Open Cycle of improvisation-notation-performance. This yields a series of variations on the original, whereby change is derived by a sequence of re-improvisations and re-notations, towards a new series of fixed works.

Pavlos Antoniadis’ contribution in the domain of performance extends the mediation at the domain of notation and representation, turning the score into a musical instrument in itself. Drawing from recent studies in the fields of gesture modelling and interaction, he uses recordings of sight-reading performances for the generation of multimodal representations (notation systems). The input performative gesture produces data (gestural signals, audio, MIDI and video), which are subsequently used for the annotation, rewriting and multimodal augmentation of the original score.

Consequently, this opens the cycle of variation to a wider investigative sphere, where the sequence of actions within that cycle are challenged, bringing into question whether notation remains the salient defining element that differentiates improvisation from composition.

The lecture (15-20 mins) will be followed by a performance (5-10mins) by Panos Ghikas and Pavlos Antoniadis, who will perform both fixed work and improvised material derived from this Open Cycle process.

Technical requirements: Grand piano, amplification for a laptop (stereo output) – no microphones required for the performance.

 CVs

 Pavlos Antoniadis is a Berlin-based new music pianist & a PhD researcher at Ircam and Labex Gream. He has performed in Europe, the Americas and Asia with Work in Progress-Berlin, KNM, Phorminx, Ergon and as a soloist. He has recorded for Mode (2015 Deutscheschallplattenkritikspreis) and Wergo records. He has published on embodied cognition, gesture capture and piano performance and has been invited to lecture at institutions such as Goldsmiths London, INMM Darmstadt, Orcim Gent, Ircam Paris, Conservatoire Strasbourg, Aristoteleio Thessaloniki. He was a Musical Research Residency fellow at Ircam in 2014. Pavlos holds degrees in piano performance (MA, UC San Diego) and musicology (Athens National University) and has studied on Gream, Fulbright, Ucsd, Nakas, IEMA Frankfurt and Impuls Academy Gratz scholarships.

Panos Ghikas is a composer, improviser and producer. His output encompasses concert music, live improvisation, interdisciplinary collaborations in digital media, film music and pop production. He is a member of surrealist post-pop band The Chap, runs the Migro Records label. Panos performs and releases collaborative multi-channel work with composer/improviser Jennifer Walshe in ‘unreal-time’ improv duo Ghikas and Walshe and performs violin and viola in free-improvisation groups Friendo, the Bohman Expanded Family. Panos completed his PhD in Composition at Goldsmiths, University of London. He has a Masters in Composition for Film from the London College of Music and Media and a degree in Physics from the University of Patras, Greece. Panos Ghikas is now a Senior Lecturer at Canterbury Christ Church University.

09.06 / The ties that bond contemporary music and political action @ ExRotaprint by the Berliner Künstlerprogramm des DAAD

turgut

In the context of Turgut Erçetin’s DAAD residency in Berlin, an open discussion with statements by Pavlos Antoniadis, Turgut Erçetin, Antye Greie and Turgay Ulu, moderated by Andrew Noble, took place on the 09.06.2016 at ExRotaprint in Berlin.

Statements on Political activism and New Music:

video  and text by Pavlos Antoniadis

Pavlos has been active in recent years in response to the refugee crisis (Watch the Med Alarmphone), as well as in antifascist & anti-austerity demonstrations in Greece, while remaining vigilant of the technological transformations of globalised capitalism. He hopes to contribute by stressing the tension between the observed degrees of political engagement or alienation in the professionalised new music scene and the urgency of an “anti-politics of dignity” (John Holloway). He is particularly sensitive to issues of appropriation of the refugee crisis by the art world and of residual racism in European music institutions.

text by Turgut Erçetin

As being one of the most significant outputs of the current social media environments, so-called selfies have displayed important roles in documenting some of the recent social movements that are intentionally disregarded by the mainstream media in the countries such as Turkey and the US. With their focus centered on selfhood, however, this trendy self-portrait photography has yielded a new imagery narrative, of which the spatial entities are conceived to saturate the self-oriented aspect of the composition. Accordingly, social struggle spaces such as streets or street barricades, started to have substantial imports for the digital-self as long as they are able to pass through this self-oriented filter. Selfies as such continue to shift our notion of social spaces and the political struggles pertaining to them, as the spatial reproduction and documentation stemming from political actions become commodity forms that are distributed through digital technologies. Most of the recent works coming from the contemporary music scene, which claim to engage with political issues, seem to follow a similar pattern with the selfies of this kind. While they are integral for documenting the neglected political agencies, such works constitute a “buffer zone” between the politicized social spaces and the audience, for they highlight a counteracting self-narrative that re-constructs the given political output as their content.

text and projects by Antye Greie

CURATION: Music, Awareness & Solidarity with #Rojava powered by female:pressure (background infos)
NTS LIVE: women producers for women
SELCTION OF TRACKS

https://soundcloud.com/femalepressure/sets/rojava-female-pressure

I cannot make a clear distinction between my work and activism, work follows different rules than activism but my life and actions are informed by social political reality. Activism takes place close to one’s own identity and realities, as a musician or artist the source of the activism is often filtered through art, but sometimes activism also requires to forget your own identity and just act along everybody else and identity matters but should take second order. As an artist I enjoy to work alone and find the core of my personal expression which can be an egocentric practice. As an activist I collaborate with others such as the international network: female:pressure and others, the more powerful your collaborators or the network is, the more the activism succeeds.

text by Turgay Ulu

Turgay Ulu, 42, is a journalist, writer and comunist. He spent 15 years in prison in Turkey due to his political work, during which time he was also tortured. After his release in 2011 he flied to Germany via Greece. In autumn 2012, Turgay was one of the organisers of the Refugee March from Würzburg to Berlin and he also lived in the protest camp on Oranienplatz in Kreuzberg. Since then he has been engaged in refugee protests in Berlin.

http://oplatz.net/about/

text by Andrew Noble

I come to this discussion as someone who has somehow given up on the idea that “New Music” as it exists structurally today (in Germany, Europe, or the US at least) can constructively contribute towards any kind of society that I would hope to be a part of. That said, I also believe very strongly in our collective capacities to redefine structures and in the agencies that might become available to us when we open ourselves up to the idea that the skills, abilities, and creative approaches – or ‘tools’ – at our disposal might be reconsidered in terms of how and why we exercise them.