Composition Strategies of Integration, Intermodulation, Spatialization as exemplified in Crossing- for Multiple Percussions and C-LAB 49 Channels Electronic
Speaker: TSENG Yu-Chung
TSENG Yu-Chung, D.M.A.,professor of computer/electronic music composition, director of IMU Sound Lab, former director of music technology master program at Institute of Music at National Chiao Tung University in Taiwan, R.O.C..
His music, written for both acoustic and electronic media, has been recognized with selection/awards from Bourges International Electroacoustic Music Competition (Selected work/1998/1999/2005), ICMA2011/2015 Music Award, Pierre Schaeffer International Computer Music Competition(1st Prize/2003,3rd Prize/2007), Città di Udine International Contemporary Music Competition(Special Mention of Jury/ 2003, Winning work/2006), MUSICA NOVA International Electroacoustic Music Competition (Finalist/2004/2005/2007,Honary Mention award/2009/2012,1st Prize/2010), Metamorphoses International Competition of Acousmatic Composition (Finalist/2006/2008/2010).
Mr. Tseng's works have also received many performances at festivals and conferences including 15 times International Computer Music Conference(1998-2017, China, Cuba, U.S.A., Singapore, North Ireland, Montreal,Hudersfield, Shanghai), Beijing International Electroacoustic Music Festival, Korean Soul International Computer Music Festival, SEAMUS National Conference, Shanghai International Electroacoustic Music Festival, Dusseldorf Schumann Festival, UCM New Music Festival, Tokyo Asian Digital Music Festival, Prague Musica Nova, Brussels Metamorphoses.
He also received many composition commissions from National Foundation of Arts, National Chiang Kai-shek Cultural Center, Taipei Dance Circle, SuccPerc, National Taiwan Arts Education Center, Dance Forum, Council Hakka Affairs, and several instrumental performers.
His music can be heard on Selected Electroacoustic Music of Yu-chung Tseng (ISCM-Taiwan), CDCM Vol.28(U.S.A.), WOCMAT2006/2007/2009/2011(TCMA), Discontact iii(Canada), Pescara 2004, Contemporanea 2006(Taukay, It.), Metamorphoses labels 2006/ 2008/2010(Belgium), SEAMUS 25th Anniversary CD(USA), KECD2 (Demark),Musica Nova 2009/2010 prize-winning CD(Czech), ICMC 2011DVD, and ICMC2015CD.
Recent years he found his interests in integrating various technologies including various sensors, wiimote, iPhone, iPad, laptop, self-designed instruments with Max/MSP. He feels highly interested in employing the IRCAM_ Spat HOA real time multichannel sound spatialization system to compose the musical space for his works.
Crossing was composed originally for multiple percussions and 8 channel electronics. In 2021 Crossing was revised and performed again at 2021 C-LAB Diversonics Sound Festival through the IRCAM Spat5 and 49.4 multichannel sound system built in C-LAB Taiwan Sound Lab.
Based the philosophy of “San Lai” (三籟, 3 Voices: voice of heaven, earth, and human) by Chinese philosopher Zhuangzi (莊子), three were different types of percussion sounds employed in the composition to represent metaphorically the sounds of “San Lai”. And at least 3 spaces with different elevations were adopted while performing the work to represent metaphorically the space of “San Lai”, as well.
As title of the work Crossing implies that the musical concept of this work will travel through different sonic constellations and space. To achieve the main idea of Crossing among the boundary of heterogeneous sound areas and spaces, compositional strategies of integration, intermodulation, and spatialization was pre-planned and will be explained in the following short talk!
In recent years, more and more composers have tried to create works of Chinese instruments and electronic music. It seems to gradually become an important creative trend, as demonstrated by Beijing Electroacoustic Music Festival-Music Acostica.
If time permits, I would also like to briefly talk about the ways of integrating Chinese instrument and electronic music. I will use my work Road to... Appears Suddenly for Zheng and C-LAB 49.4 Channels Electronics performed at the 2021 C-LAB Diversonics Sound Festival as an example.
Co-Existence Binaural Experience
Speaker: HSIEH Hsien-Te
HSIEH Hsien-Te is a project sound designer at Taiwan Sound Lab. He graduated from the Institute of Music at National Yang Ming Chiao Tung University with a master’s degree in Electronic Music. He is dedicated to the research and creation of multi-channel surround sound works and participates in cross-disciplinary creation of contemporary music that integrates spatial acoustics and various media.
His works have received awards at international electronic music creation competitions, such as MusicAcoustica – Beijing, International Computer Music Conference (ICMC), and Petites Formes. Moreover, he has participated in the production and performance of cross-disciplinary works that combine music, technology, and art including 2021 C-LAB Sound Festival: Co-existence, Ju Percussion Group Laboratory incubator project and CLAB’s Taiwan Sound Lab 49.4 channel Sound Talks – Cinema for Ears.
Co-Existence was one of the programs at the 2021 Sound Festival: Diversonics. It is an investigation of the minute interdependent interactions between body and sound in a hybrid virtual sound and physical space through collaboration between dancers and sound engineers.
The audience best experiences the performance by wearing headphones. Through the 3DIO microphone that able to detect the most delicate sound changes in the underground space, transmitted from wireless microphones on the dancers’ bodies to the headphones and generating an almost tactile sensation that triggers an autonomous sensory meridian response in the brain.
The experience of Co-Existence also expands to the post-performance moment in which the audience roams the space within a precisely calculated period of performance reverberation. This creates an auditory and somatosensory experience comparable to that of watching a 4D movie with binaural virtual surround sound system, subwoofers, and lighting.