2015 Jonathan N. Middleton
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2009 José Lopéz Montes
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- ICST Residency: 6.–24.7.2009
- Author
- Date
- 01.06.2022
- Keywords
- Description
- Studied piano and composition at Royal Conservatory of Granada. In 2001 he moved to Zurich (Switzerland) with a grant from andalusian government to continue his composition studies at Zurich School of Music, Drama and Dance. He became a pupil of Gerald Bennett, and began to create electroacustic pieces using the Csound compiler. His first electroacustic work won a price in the II SGAE Internacional Computer Music Competition. His works have been played in Spain, France (IMEB, Bourges), Switzerland (World New Music Days), Mexico, Brazil ... His catalogue also includes chamber music, compositions with video and music for ballet. The music of López Montes explore severe algorithmic patterns generated with cellulare automata, chaotic and fractal structures applied to synthesis from micro to macroscale, combined with more intuitive and «human» processes and a bit of humour.
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- Zürcher Hochschule der Künste
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- 10.06.2022
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2007 Martin Schlumpf
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- ICST Residency: 2007
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- Date
- 01.06.2022
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- Description
- Martin Schlumpf, geboren 1947 in Aarau, wirkte schon während seiner Gymnasialzeit in verschiedenen Jazzformationen als Kontrabassist und gelegentlich auch als Saxofonist mit. 1968 begann er sein Musikstudium in Zürich mit den Hauptfächern Klarinette, Klavier, Dirigieren und Theorie und Komposition (bei Rudolf Kelterborn). Bis 1980 war Schlumpf vor allem als Komponist im E-Musik-Bereich tätig und gewann diverse Preise bei Kompositionswettbewerben, u.a. 1. Preise in den Wettbewerben der Stadt Zürich von 1972 und 1979, sowie im Tonhalle-Wettbewerb 1975. Ab 1980 besann er sich auf die improvisierte Musik zurück und spielte in verschiedenen eigenen Gruppen: zuerst als Kontrabassist mit Urs Blöchlinger im «Trio 80», dann ab 1982 als Saxophonist und Bassklarinettist im elfköpfigen Orchester «Swiss Fusion 84». Seit Ende der 80er-Jahre übt Martin Schlumpf vielfältige Tätigkeiten im Schnittfeld zwischen Improvisation und Komposition aus. Zunehmendes Gewicht legt er dabei auf die Arbeit als Komponist in einem veränderten, quasi «postmodernen» Stil, in dem Werke wie der Zyklus «Vier Jahreszeiten», das Klavierkonzert «Mouvements», «Trio für Klarinette, Violoncello und Klavier», oder das Cellokonzert «Waves» entstanden sind.
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- Zürcher Hochschule der Künste
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- 10.06.2022
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2022 Hans Tutschku
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- ICST Residency: 31.1.–13.2.2022
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- Date
- 27.04.2022
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- Description
- Hans Tutschku wurde 1966 in Weimar geboren. Er studierte Komposition an der Hochschule für Musik Carl Maria von Weber in Dresden und am IRCAM in Paris. Von 1989 an begleitete er während mehrerer Konzertzyklen Karlheinz Stockhausen, um sich von ihm in die Klangregie einweisen zu lassen. Darüber hinaus studierte Hans Tutschku Sonologie und Elektroakustische Komposition in Den Haag und besuchte mehrere Kompositionsworkshops bei Klaus Huber und Brian Ferneyhough. Zur gleichen Zeit hatte Tutschku eine Gastprofessur für Elektroakustische Komposition in Weimar inne. Nach Lehrtätigkeiten am IRCAM in Paris und in Montbéliard und an der Technischen Universität Berlin wurde Hans Tutschku im September 2004 an die Harvard University in Cambridge als Professor für Komposition und als Leiter des Studios für Elektroakustische Musik berufen.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2022 Cathy Lane
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- ICST Residency: 17.–20.3.2022
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- Date
- 02.05.2022
- Keywords
- Description
- Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.
Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
- Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2022 Olga Koksharova
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- ICST Residency: 11.–13.3.2022
- Author
- Date
- 27.04.2022
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- Description
- Born in Siberia and currently based in Geneva, Olga Koksharova is an artist, composer, musician and landscape architect. She is interested in everything that is audible, regardless of the medium. She works with analog modular synthesizers, prepared instruments and field recordings, favoring careful recording, but also experimenting in circumstances where recording equipment is physically put to the test. These sources are then used for compositions, soundtracks, multichannel electroacoustic improvisations or sound installations in public spaces. Her work has been presented throughout Europe, Argentina, Australia and the USA. It has been awarded with Neumann prize (2009), GNOM - Das Ohr Der Zeit prize (2010), Sonohr Prix d’Ohr - für ein besonders herausragendes Hörerlebnis (2017), Liechti prize (2017). She is founder member of zov, a project in which, in collaboration with Gianluca Ruggeri, they explore since 2011 sounds from natural and artificial acoustic environments, audible and inaudible vibrational phenomena, field and laboratory measurements and other signals captured via accelerometers and charge conditioning amplifiers, hydrophones and electromagnetic detectors. Their live performances involve multichannel spatialization of sound using the ICST Ambisonics tools for Max in a way to put forward the specificities of the acoustics of uncommon concert places via various loudspeaker set-ups. Through non-narrative sound constructions zov investigates the histories of the site bringing back sound environments which has disappeared.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2021 Cathy Lane
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- Subtitle
- ICST Residency: 19.7.–8.8.2021
- Author
- Date
- 13.04.2022
- Keywords
- Description
- Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.
Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
- Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2021 Olga Koksharova
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- Subtitle
- ICST Residency: 29.6.–18.7.2021
- Author
- Date
- 02.05.2022
- Keywords
- Description
-
Kompositionsstudio
Das Kompositionsstudio des ICST bietet drei selbständige Abhörsysteme: eine 3D-Anordnung von 17 Lautsprechern (5+8+4) für Ambisonics und Multikanal, ein 5.1 System sowie Stereo-Monitoring. Ein Mac Pro steht mit vielfältiger Software wie Sequenzern, HD-Recording- und Klangbearbeitungstools sowie objektorientierten Programmen wie MaxMSP/Jitter oder PD bereit. Das Studio ist speziell für die Erstellung von Ambisonic-/Surround-Musik eingerichtet. Das Kompositionsstudio des ICST verbindet neueste Technologien mit musikalischer Praxis und konzentriert sich auf die praktische Umsetzung von Aufgabenstellungen aus der Klangforschung, der Computermusik und der Medienkunst. Das Studio will die Entstehung neuer Werke der Elektronischen Musik, der Klang- und Medienkunst fördern.
(c) Judith Winterhager
Residenzen
Das Residency-Programm des ICST Artists in Residence at ICST bietet KünstlerInnen die Möglichkeit, im Rahmen eines Aufenthalts an der ZHdK ein eigenes künstlerisches Projektvorhaben zu realisieren und dabei von der wissenschaftlichen und künstlerischen Forschung am ICST zu profitieren. Das Programm umfasst Residenzen in unterschiedlichen Schwerpunktbereichen des ICST – aktuell sind dies: Spatial Sound Synthesis, Tempo Polyphony, Moving Loudspeakers und Immersive Arts. Der Call für das Programm wird jeweils im Juni publiziert.
Resident*innen
2022
Cathy Lane
19.7. – 8.8.2021 | 17. – 20.3.2022
Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.
Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
cathylane.co.uk
Cathy Lane
Olga Koksharova
29.6. – 18.7.2021 | 11. – 13.3.2022
Born in Siberia and currently based in Geneva, Olga Koksharova is an artist, composer, musician and landscape architect. She is interested in everything that is audible, regardless of the medium. She works with analog modular synthesizers, prepared instruments and field recordings, favoring careful recording, but also experimenting in circumstances where recording equipment is physically put to the test. These sources are then used for compositions, soundtracks, multichannel electroacoustic improvisations or sound installations in public spaces. Her work has been presented throughout Europe, Argentina, Australia and the USA. It has been awarded with Neumann prize (2009), GNOM - Das Ohr Der Zeit prize (2010), Sonohr Prix d’Ohr - für ein besonders herausragendes Hörerlebnis (2017), Liechti prize (2017). She is founder member of zov, a project in which, in collaboration with Gianluca Ruggeri, they explore since 2011 sounds from natural and artificial acoustic environments, audible and inaudible vibrational phenomena, field and laboratory measurements and other signals captured via accelerometers and charge conditioning amplifiers, hydrophones and electromagnetic detectors. Their live performances involve multichannel spatialization of sound using the ICST Ambisonics tools for Max in a way to put forward the specificities of the acoustics of uncommon concert places via various loudspeaker set-ups. Through non-narrative sound constructions zov investigates the histories of the site bringing back sound environments which has disappeared.
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- Zürcher Hochschule der Künste
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2021 Vincent Caers
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- ICSt Residency: 6.– 19.4.2021
- Author
- Date
- 06.05.2022
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- Description
- Vincent Caers is percussionist and electronic musician. His main interest lies in interdisciplinary projects combining percussion, live electronics and visual arts. As an artistic researcher, he explores new formats for contemporary percussion performance and their impact on the audience’s experience. Vincent obtained master degree’s in percussion, chamber music and contemporary music performance before becoming research assistant at the LUCA School of Arts. He obtained degrees in electronic music at Ircam and Berklee College of Music. He regularly performs as a freelance musician with different ensembles and orchestras.
Bio
Innovation is the leitmotiv in the artistic profile of Vincent Caers. He continuously considers himself as a percussionist from a reflective and critical point of view. He not only questions his artistic output, but his entire musicianship: which knowledge and skills are important for a contemporary musician in a modern and technology-driven art scene?
Living Scores
With Living Scores (LS) Vincent aims at answering this question. LS Learn - a collaboration with percussionist dr. Tom De Cock - is a web platform, created for improving the practice and performance of contemporary music by distributing theoretical insights and practical tools. Next to the musical output, Vincent also developed the project’s website and the software lsl.clicktrack. In his current PhD research LS Live Vincent explores new formats for contemporary percussion performance and examines their impact on the audience’s experience.
Live electronics
Vincent often shares the stage with different musicians, visual artists and dancers. In ‘Worp’ he performs live electronics with musicians Peter Jacquemyn and Jan Pillaert and visual artist Klaas Verpoest. In ‘Sichtlaut’ the group is extended with dancer Geraldo Si. Together with painter Sigrid Tanghe he improvises as an audiovisual duo. For his electronic performances, he created the lsl.lpsr improvisation software. He also performs as a soloist combining percussion and live electronics.
Percussion
As a percussionist, Vincent created the duo ‘Blow’ with saxophone player Andy Dhondt. They collaborated with multiple composers, such as Annelies van Parys, Benjamin Van Esser, Jelle Tassyns and Claude Coppens and premiered multiple works for saxophone and percussion. Blow recorded ‘Coalesce 3’ by Benjamin Van Esser for Champ d’Action and ‘A bâtons rompus’ by Philippe Hurel. Vincent was percussionist in the Verbier Festival Orchestra and member of the Vlaams Sinfonietta ensemble. As a freelance musician he performed with different ensembles and orchestras, such as Ictus, Champ d’Action, Vlaams Sinfonietta, Het kamerorkest, The Bone Society, Orchestre Philharmonique Royal de Liège, DeFilharmonie, La Monnaie, Vlaamse Opera, Nationaal Orkest van België, Brussels Philharmonic and Brussels Jazz Orchestra. He performed at festivals such as Ircam’s Manifeste and Internationalen Ferienkurse für Neue Musik Darmstadt.
Education
Vincent Caers obtained a master of Arts in percussion cum laude, a master degree chamber music magna cum laude and a post-master degree in Advanced Studies in Contemporary Art Music Performance magna cum laude at the Lemmensinstituut in Leuven. He attended different masterclasses and won apprenticeships with DeFilharmonie and Brussels Philharmonic. He graduated the master-class cultural management at the Antwerp Management School and received a degree in music technology at the Berklee College of Music and at the Ircam in Paris. He is a laureate of the Dexia Axion Classics competition and the Forte competition. He currently holds a research position at the LUCA school of Arts and KU Leuven and teaches percussion at the Academy of Heist-op-den-berg.
- Vincent Caers is percussionist and electronic musician. His main interest lies in interdisciplinary projects combining percussion, live electronics and visual arts. As an artistic researcher, he explores new formats for contemporary percussion performance and their impact on the audience’s experience. Vincent obtained master degree’s in percussion, chamber music and contemporary music performance before becoming research assistant at the LUCA School of Arts. He obtained degrees in electronic music at Ircam and Berklee College of Music. He regularly performs as a freelance musician with different ensembles and orchestras.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2020 Antonia Manhartsberger
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- ICST Residency: 10.–23.8.2020
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- Date
- 05.04.2022
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- Description
- Antonia Manhartsberger ist 1991 in Innsbruck geboren und dort aufgewachsen. Nach einem abgeschlossenen Musikwissenschaftsstudium an der Universität Wien 2014, lebt sie in Graz und studiert Computermusik am Institut für Elektronische Musik. Besonders faszinieren sie die raumkompositorischen Gestaltungsmöglichkeiten der elektronischen Musik, sowie die kreative Mediation politischer und sozialer Fragen durch medienübergreifende Kunst/Performance. Ihre Arbeiten beinhalten Installationen, Fixed-Media Stücke, multimedia Performances, Hörspielvertonung und Live-Elektronik. Sie spielt in unterschiedlichen Konstellationen, wie der Post-Pre-No-Future Band Frau Sammer und als DJ Auto. 2016 hat sie die regelmäßig im Café Wolf stattfindende electronics only Jam-Session „pla-e-ground“ gegründet.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2018 Mesías Maiguashca
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- ICST Residency: 2018
- Author
- Date
- 02.05.2022
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- Description
- Born in Quito, Ecuador, the 24th of December, 1938, Mesías Maiguashca studied at the Conservatorio de Quito, the Eastman School of Music (Rochester, N.Y.), the Instituto di Tella (Buenos Aires) and at the Musikhochschule in Cologne. He realized compositions in the Studio for Electronic Music WDR (Cologne), the Centre Européen pour la Recherche Musicale (Metz), IRCAM (Paris), Acroe (Grenoble) and ZKM (Karlsruhe), and teached in Metz, Stuttgart, Karlsruhe, Basel, Sofía, Quito, Cuenca, Buenos Aires, Bogotá, Madrid, Barcelona, Györ y Szombathely (Hungary), Seoul (Corea) and his works were presented at the most important European festivals.
Maiguashcas was professor for electronic music at the Musikhochschule Freiburg from 1990 until his retirement in 2004. Together with Roland Breitenfeld, he founded the K.O.Studio Freiburg in 1998, a private initiative for the practice of experimental music. He lives in Freiburg since 1996.
- Born in Quito, Ecuador, the 24th of December, 1938, Mesías Maiguashca studied at the Conservatorio de Quito, the Eastman School of Music (Rochester, N.Y.), the Instituto di Tella (Buenos Aires) and at the Musikhochschule in Cologne. He realized compositions in the Studio for Electronic Music WDR (Cologne), the Centre Européen pour la Recherche Musicale (Metz), IRCAM (Paris), Acroe (Grenoble) and ZKM (Karlsruhe), and teached in Metz, Stuttgart, Karlsruhe, Basel, Sofía, Quito, Cuenca, Buenos Aires, Bogotá, Madrid, Barcelona, Györ y Szombathely (Hungary), Seoul (Corea) and his works were presented at the most important European festivals.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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2015 Horacio Vaggione
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- ICST Residency: 30.6.–5.7.2015
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- Date
- 16.05.2022
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- Description
- Horacio Vaggione, 1943 in Cordoba (Argentinien) geboren, lebt seit 1978 in Paris. Er studierte Klavier und Komposition an der Universität in Cordoba, und promovierte an der «Université de Paris VIII» in Musikwissenschaft. Als Fulbright-Stipendiat kam er 1966 an der Universität Illinois (USA) durch Lejaren Hiller mit dem Computer als Musikinstrument in Kontakt und gründete 1969 zusammen mit Luis de Pablo in Madrid die Live-Elektronik-Gruppe ALEA. Zur gleichen Zeit arbeitete er im Projekt «Musik und Computer» an der Universität Madrid. Vaggione war Composer in Residence am IRCAM, dem INAGRM, dem GMEB, an der technischem Universität Berlin, am Institut de Sonologie von La Haye, an der McGill Universität in Montréal, und «Faculty composer» am «June in Buffalo»-Festival (USA), sowie DAAD-Stipendiat.
Vaggione hat ein umfangreiches Oeuvre von instrumentalen, elektroakustischen und gemischten Werken geschaffen, darunter Auftragskompositionen des Ministère de la Culture, des INA-GRM, des IMEB, des Arts Board of Cambridge (GB), der TU-Berlin, des ZKM-Karlsruhe und der International Computer Music Association (USA).
Seit 1985 war Horacio Vaggione Professor an der «Université de Paris VIII», wo er dem «Centre de recherche Informatique et Création Musicale» (CICM) vorstand, bevor er 2012 emeritiert wurde. Er hat diverse Auszeichnungen erhalten, darunter den Newcomp Prize (Cambridge, USA), den International Computer Music Association Award (USA), die Euphonie d’or (Bourges), den Prix Ton Bruynel (Amsterdam), den Giga-Hertz Produktion Preiss (ZKM-Karlsruhe und Experimentalstudio Freiburg).
- Horacio Vaggione, 1943 in Cordoba (Argentinien) geboren, lebt seit 1978 in Paris. Er studierte Klavier und Komposition an der Universität in Cordoba, und promovierte an der «Université de Paris VIII» in Musikwissenschaft. Als Fulbright-Stipendiat kam er 1966 an der Universität Illinois (USA) durch Lejaren Hiller mit dem Computer als Musikinstrument in Kontakt und gründete 1969 zusammen mit Luis de Pablo in Madrid die Live-Elektronik-Gruppe ALEA. Zur gleichen Zeit arbeitete er im Projekt «Musik und Computer» an der Universität Madrid. Vaggione war Composer in Residence am IRCAM, dem INAGRM, dem GMEB, an der technischem Universität Berlin, am Institut de Sonologie von La Haye, an der McGill Universität in Montréal, und «Faculty composer» am «June in Buffalo»-Festival (USA), sowie DAAD-Stipendiat.
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2015 Dimitris Maronidis
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- ICST Residency: 10.–15.7.2015
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- Date
- 19.05.2022
- Keywords
- Description
- Dimitris Maronidis (b.1980) composes acoustic, electroacoustic, mixed media and interactive music. In his most recent works he tries to bring together these fields and he explores extensively algorithmic processes for organizing his musical material. He uses technology to experiment, explore and expand the properties of sounds.
Dimitris has studied Counterpoint, Orchestration and Composition at the State Conservatory of Thessaloniki. From 1998 to 2006 he studied at the Music Department of Aristotle University of Thessaloniki and between 2006 and 2010 he was a PhD student at the University of York funded by the State Scholarships Foundation of Greece (IKY). In 2011 he moved to United States of America and pursued a post-doc research as a visiting Fulbright scholar at Harvard University.
He has studied computer music at the Institute of Psychoacoustics (IPSA) in an experimental project held at the Aristotle University in collaboration with the American Hellenic Educational Progressive Association (AHEPA) Hospital) directed by Thanassis Rikakis. There he was introduced to the techniques of computer assisted composition (CAC) and electronic music.
His works have been performed in many places and festivals around the world by decent ensembles and orchestras (Lorraine Symphony Orchestra (FR), State Orchestra of Thessaloniki (GR), State Orchestra of Athens (GR), Nieuw Ensemble (NL), dissonArt ensemble (GR), ContraTempo Chamber Orchestra (GR), Diotima Quartet (FR), Chimera Ensemble (UK) etc).
He has lectured in composition, music theory and orchestration classes at the Aristotle University of Thessaloniki. He is currently teaching orchestration at the State Conservatory of Thessaloniki and electronic music at Aristotle University of Thessaloniki.
- Dimitris Maronidis (b.1980) composes acoustic, electroacoustic, mixed media and interactive music. In his most recent works he tries to bring together these fields and he explores extensively algorithmic processes for organizing his musical material. He uses technology to experiment, explore and expand the properties of sounds.
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- Zürcher Hochschule der Künste
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- 26.05.2022
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