30.03-02.04 / INMM Darmstadt / Body sounds. Aspekte des Körperlichen in neuer Musik



30.03 Konzert mit Ensemble Phorminx. Werke von Heinz Holliger, Georg Friedrich Haas, Robin Hoffmann, Nicolaus A. Huber.

01.04 Lecture-Performance:

In Ketten Tanzen? Körperliche Navigation in Brian Ferneyhoughs Klavierkomposition Lemma-Icon-Epigram

Der Pianist Pavlos Antoniadis erforscht Interpretationsräume in Brian Ferneyhoughs Klavierkomposition Lemma-Icon-Epigram, in der Form einer Simulation des Lernprozesses in Echtzeit. Er basiert den Ansatz einer “Körperlichen Navigation” der textuellen Komplexität sowohl auf Konzepte aus dem Feld der verkörperten Kognitionswissenschaft, als auch auf aktuellen Technologien zur Gestenaufnahme und -verfolgung. Ziel seiner Lecture-Performance ist, die Spannungen zwischen Text und Akt bzw. Geist und Körper als ästhetisches Konzept fühlbar zu machen.

Pavlos Antoniadis, 1978 in Athen geboren, ist ein in Berlin basierter Pianist und Musikwissenschaftler, derzeitig Doktorand in LabEx GREAM, Université de Strasbourg (Pierre Michel) und Ircam, Centre Pompidou (Frédéric Bevilacqua). Er hat in Europa, Nord- und Südmerica und Asien als Solist und Ensemblemusiker (Work in Progress und KNM Berlin) aufgetretten und für MODE records (2015 Deutscheschallplattenkritikspreis) und Wergo aufgenommen. Er war von europäischen Institutionen (HfM Dresden, INMM Darmstadt, Ircam Paris, Orcim Gent, Goldsmiths London, Trinity Dublin, Aristoteleio Thessaloniki, Cité de la Musique et de la Danse Strasbourg) zu Lecture-Performances über die Verkörperung der neuen Musik eingeladen. 2014 gewann er die Musical Research Residency in Ircam, wo er ein Interface zur gestichen Bearbeitung der komplexen Notation (GesTCom) entwickelte. Er hat Klavier und Musikwissenschaft als Stipendiat von GREAM, Fulbright Athen, University of California San Diego, Impuls-Akademie Graz, International Ensemble Modern Akademie und Nakas Konservatorium Athen studiert.



24.03.2016 / Workshop « Mener une étude expérimentale de l’interaction homme – machine en musique : concepts, outils et équipement »

2016-03-24 00.12.24

Workshop  organised by Pavlos Antoniadis in the context of

Journée d'étude « L'interaction homme - machine en musique »

introduces GREAM’s new studio for gesture capture and consists of two parts.

In the first part, the participants will be presented with latest technologies and concepts in the field of musical interactive systems by the invited leading researchers Frédéric Bevilacqua (head of the Sound Music Movement Interaction team at IRCAM), Baptiste Caramiaux (Marie Sklodowska-Curie Research Fellow between McGill University and IRCAM) and Andrew McPherson (Associate Professor in the Centre for Digital Music at Queen Mary University of London), and the pianist researcher Pavlos Antoniadis (doctoral student at GREAM and IRCAM). Bevilacqua will present an overview of research on gesture capture and analysis, including: augmented instruments developed in collaboration with composers and performers;  tangible interfaces for interaction with digital sound environments (MO Modular Musical Objects); and applications related to sensorimotor learning and embodied music cognition. Caramiaux will present tools for data analysis using advanced computational techniques such as machine learning. He will introduce the motivations behind such approach and techniques, the practical use of these techniques through existing tools, and what we can get from them at both an analysis level and interaction level. McPherson will present TouchKeys, an augmented keyboard technology which turns the surface of every key into a multi-touch control surface and allows for the capture of position of the player’s fingers. Its applications include the study of gestural language of piano performance and the addition of new expressive control dimensions to each note, such as vibrato, pitch bends and changes in volume and timbre. Antoniadis will present applications of gesture capture in his performance and research, in the form of a real-time simulation of learning Brian Ferneyhough’s work Lemma-Icon-Epigram. His approach features the concept of “embodied navigation of complex notation” and the prototype system GesTCom for the gestural control of scores, developed with Bevilacqua at IRCAM.

In the second part, the participants will have the chance of a hands-on experience of the systems presented in the first part. At the same time, and on the occasion of the first public presentation of GREAM’s new studio for gesture capture, GREAM’s members  are warmly invited to discover its possibilities for the documentation of the musical act, including a Disklavier equipped with McPherson’s TouchKeys, motion capture system, kinect and inertial sensors, next to basic audio recording facilities.


Frédéric Bevilacqua is the head of the Sound Music Movement Interaction team at IRCAM in Paris. His research concerns the modelling and the design of interaction between movement and sound, and the development of gesture-based interactive systems.

Baptiste Caramiaux is a Marie Sklodowska-Curie Research Fellow between McGill University (Montreal, Canada) and IRCAM (Paris, France). His current research focuses on the understanding of the cognitive processes of motor learning in musical performance and the computational modelling of these processes.  Before, he worked on gesture expressivity and the design of musical interactive systems through machine learning. He conducted academic research at Goldsmiths, University of London, and applied part of his academic research works on industrial products at Mogees Ltd. Baptiste holds a PhD in computer science from University Pierre et Marie Curie in Paris, and IRCAM Centre Pompidou.

Andrew McPherson is a Senior Lecturer (Associate Professor) in the Centre for Digital Music at Queen Mary University of London. A composer and electrical engineer by training, he studied at MIT (M.Eng. 2005) and the University of Pennsylvania (Ph.D. 2009) and spent a two-year postdoctoral fellowship at Drexel University. His research focuses on augmented instruments, embedded hardware systems and the study of performer-instrument interaction. He is the creator of the magnetic resonator piano, an augmented acoustic piano which has used by more than 20 composers worldwide, and the TouchKeys multi-touch keyboard which has shipped to musicians worldwide through a 2013 Kickstarter campaign and 2015 production run. In 2016, his lab launched Bela, an ultra-low-latency embedded platform for creating musical instruments and interactive audio systems.

Pavlos Antoniadis is a Berlin-based pianist and doctoral researcher at IRCAM and LabEx GREAM. He has performed in Europe, the Americas and Asia and has recorded for Mode and Wergo records.  He was a Musical Research Residency fellow at Ircam in 2014 and has been invited for lecture-performances at important European institutions.  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 Graz scholarships.

17-19.03.2016 / Porto international conference on musical gesture as creative interface


conference site

labex gream site

Gesture cutting through textual complexity:

A model and a tool for the embodied navigation of complex piano notation

The proposed paper introduces a model of embodied interaction with complex piano notation and a prototype interactive system for the gestural processing and control of musical scores.

In the first part, we present the post-cartesian foundations of an embodied navigation model, applied to symbolic notation as complex as Iannis Xenakis’s and Brian Ferneyhough’s: Learning and performance are conceptualized as embodied navigation in a non-linear notational space of affordances. The performer moves inside several dimensions of the score-space and manipulates through performative gestures the elements of notation as if they were physical objects. This manipulation forms indispensable part of the cognitive processes involved in learning and performing and actively transforms the notation. In this sense, gesture acts as an interface for notation processing and notation forms part of a dynamic system rather than the composer’s “brain in a vat”. Concepts from Gibson’s ecological psychology, Rowlands’s externalism, Lakoff’s metaphor theory, dynamic systems theory and, last but not least, Leman’s mediation theory are mapped upon Xenakis’s and Ferneyhough’s ideas on notation and performance, offering an embodied and extended alternative to traditional interpretation models.

The second part proposes a technological application of the above-mentioned model. It introduces a recently developed prototype interactive system for the real-time processing and control of complex piano notation through the pianist’s gesture. This system, by the name GesTCom, draws from latest developments in the fields of computer music representation (augmented and interactive musical scores via Fober’s INScore) and gesture modeling (motionfollower by Bevilacqua / ISMM Team IRCAM). Gestural, video, audio and MIDI data are captured, qualitatively correlated to the musical score and appropriately mapped back into it, turning it into a personalized, dynamic, multimodal tablature. This tablature may be used for performance analysis and documentation, learning through augmented feedback, and can contribute to the design of interactive multimodal systems, including score-following ones.

Concluding: We wish to present a performer’s perspective on the osmosis between contemporary performance practice, embodied cognition and computer music interaction, by way of a theoretical model of embodied navigation of complex notation and an interactive system dedicated to it. This presentation affirms the centrality of gesture as an interface between physical gesture and symbolic representations and hopes to contribute in the discussion concerning the ontological status of gesture and notation in a digitally mediated world.

13.03.2016 / Luis Antunes Pena “Caffeine” release concert and party

für Klavier und Elektronik (2011/15)
“…winterlich ruhende Erde…”
für Violoncello (2000)
Fragments of Noise and Blood – Nr. 4 – Das Kapital Chaos
für Klavier zu 6 Händen und Noise-Kabel (2009)
White Music *
1. Chopin op. 18 Grand Valse Brillant
2. Chopin Etude Nr. 5 op. 10 – 5 Black keys
für Klavier (2014)
Três Quadros sobre Pedra
für Granitsteine, Schlagzeug und Elektronik (2008)
ruído vermelho: Narzisistic Rooms (2016)Improvised music for cello, percussion, resonant bodies and electronics


Francesco Dillon Cello
Pavlos Antoniadis Klavier
Nuno Aroso Schlagzeug
Luís Antunes Pena Elektronik

11.03.2016 / 4ème Journée des Jeunes chercheurs du GREAM : Instruments, instrumentalité et lutherie

We introduce a model of embodied interaction with piano notation and a prototype system for it, turning complex scores into a meta-instrument. Concepts from embodied cognition are applied to Xenakis’ and Ferneyhough’s notation. Performance is conceptualised as embodied navigation in a non-linear space of notational affordances. Furthermore, the recently developed prototype GesTCom implements tools such as INScore and motionfollower for the gestural control of scores. The presentation affirms the centrality of gesture as an interface between physical energy and symbolic representations.

For a complete programme look at: