HELMCA / Greece

 

Hellenic Electroacoustic Music Composers Association   / Association grecque des compositeurs de musique électroacoustique

 

pastedGraphic.pdf

 

Biographies and programme notes after the musical extracts / biographies et présentation d’oeuvres en bas de page.

 

DAOUTIS Akis – Future Song

{play}AUDIO/greece/DAOUTIS Akis – Future Song.mp3{/play}

FRAGKISKOS Giorgos – Avaton Estate

{play}AUDIO/greece/FRAGKISKOS Giorgos – Avaton Estate.mp3{/play}

GIANNOULAKIS Stelios – PassageNightTHISISIT

{play}AUDIO/greece/GIANNOULAKIS Stelios – PassageNightTHISISIT.mp3{/play}

GIANNOULAKIS Stelios – introspective 1

{play}AUDIO/greece/GIANNOULAKIS Stelios – introspective 1.mp3{/play}

HARIZANOS Nickos – Electric Idyll I Serenity

{play}AUDIO/greece/HARIZANOS Nickos – Electric Idyll I Serenity.mp3{/play}

HARIZANOS Nickos – MUSIC TOYS ROOM.mp3

{play}AUDIO/greece/HARIZANOS Nickos – MUSIC TOYS ROOM.mp3{/play}

KALANTZIS Giannis – SIM4

{play}AUDIO/greece/KALANTZIS Giannis – SIM4.mp3{/play}

KARAMANLIS Orestis – Kardas

{play}AUDIO/greece/KARAMANLIS Orestis – Kardas.mp3{/play}

KARAMANLIS Orestis – Transduction

{play}AUDIO/greece/KARAMANLIS Orestis – Transduction.mp3{/play}

KARATHANASIS Konstantinos – Pollock’s Dreams

{play}AUDIO/greece/KARATHANASIS Konstantinos – Pollock’s Dreams.mp3{/play}

KOKORAS Panayiotis – Response

{play}AUDIO/greece/KOKORAS Panayiotis – Response.mp3{/play}

KOLLIAS Phivos – true_story-recording

{play}AUDIO/greece/KOLLIAS Phivos – true_story-recording.mp3{/play}

LOTIS Theodore – INSTANT OF A CRYSTALL GLASS

{play}AUDIO/greece/LOTIS Theodore – INSTANT OF A CRYSTALL GLASS.mp3{/play}

LOUFOPOULOS Apostolos – Icarus

{play}AUDIO/greece/LOUFOPOULOS Apostolos – Icarus.mp3{/play}

MANOUSAKIS Manolis – Lust Illusions

{play}AUDIO/greece/MANOUSAKIS Manolis – Lust Illusions.mp3{/play}

MNIESTRIS Andreas – Variations

{play}AUDIO/greece/MNIESTRIS Andreas – Variations.mp3{/play}

MONOPOLIS Andreas – Overload

{play}AUDIO/greece/MONOPOLIS Andreas – Overload.mp3{/play}

PAPADIMITRIOU Lefteris – scorpius

{play}AUDIO/greece/PAPADIMITRIOU Lefteris – scorpius.mp3{/play}

POLYCHRONOPOULOS Spyros – Two lonely

{play}AUDIO/greece/POLYCHRONOPOULOS Spyros – Two lonely.mp3{/play}

ROUPAS Vassilis – Lullaby

{play}AUDIO/greece/ROUPAS Vassilis – Lullaby.mp3{/play}

STAVROPOULOS Nikos – Nyctinasty

{play}AUDIO/greece/STAVROPOULOS Nikos – Nyctinasty.mp3{/play}

STEFANOU Giorgos – tape24

{play}AUDIO/greece/STEFANOU Giorgos – tape24.mp3{/play}

TZEDAKI Katerina – Jyoti

{play}AUDIO/greece/TZEDAKI Katerina – Jyoti.mp3{/play}

DAOUTIS Akis – Future Song

{play}AUDIO/greece/DAOUTIS Akis – Future Song.mp3{/play}

FRAGKISKOS Giorgos – Avaton Estate

{play}AUDIO/greece/FRAGKISKOS Giorgos – Avaton Estate.mp3{/play}

GIANNOULAKIS Stelios – PassageNightTHISISIT

{play}AUDIO/greece/GIANNOULAKIS Stelios – PassageNightTHISISIT.mp3{/play}

GIANNOULAKIS Stelios – introspective 1

{play}AUDIO/greece/GIANNOULAKIS Stelios – introspective 1.mp3{/play}

HARIZANOS Nickos – Electric Idyll I Serenity

{play}AUDIO/greece/HARIZANOS Nickos – Electric Idyll I Serenity.mp3{/play}

HARIZANOS Nickos – MUSIC TOYS ROOM

{play}AUDIO/greece/HARIZANOS Nickos – MUSIC TOYS ROOM.mp3{/play}

KALANTZIS Giannis – SIM4

{play}AUDIO/greece/KALANTZIS Giannis – SIM4.mp3{/play}

KARAMANLIS Orestis – Kardas

{play}AUDIO/greece/KARAMANLIS Orestis – Kardas.mp3{/play}

KARAMANLIS Orestis – Transduction

{play}AUDIO/greece/KARAMANLIS Orestis – Transduction.mp3{/play}

KARATHANASIS Konstantinos – Pollock’s Dreams

{play}AUDIO/greece/KARATHANASIS Konstantinos – Pollock’s Dreams.mp3{/play}

KOKORAS Panayiotis – Response

{play}AUDIO/greece/KOKORAS Panayiotis – Response.mp3{/play}

KOLLIAS Phivos – true_story-recording

{play}AUDIO/greece/KOLLIAS Phivos – true_story-recording.mp3{/play}

LOTIS Theodore – INSTANT OF A CRYSTALL GLASS

{play}AUDIO/greece/LOTIS Theodore – INSTANT OF A CRYSTALL GLASS.mp3{/play}

LOUFOPOULOS Apostolos – Icarus

{play}AUDIO/greece/LOUFOPOULOS Apostolos – Icarus.mp3{/play}

MANOUSAKIS Manolis – Lust Illusions

{play}AUDIO/greece/MANOUSAKIS Manolis – Lust Illusions.mp3{/play}

MNIESTRIS Andreas – Variations

{play}AUDIO/greece/MNIESTRIS Andreas – Variations.mp3{/play}

MONOPOLIS Andreas – Overload

{play}AUDIO/greece/MONOPOLIS Andreas – Overload.mp3{/play}

PAPADIMITRIOU Lefteris – scorpius

{play}AUDIO/greece/PAPADIMITRIOU Lefteris – scorpius.mp3{/play}

POLYCHRONOPOULOS Spyros – Two lonely

{play}AUDIO/greece/POLYCHRONOPOULOS Spyros – Two lonely.mp3{/play}

ROUPAS Vassilis – Lullaby

{play}AUDIO/greece/ROUPAS Vassilis – Lullaby.mp3{/play}

STAVROPOULOS Nikos – Nyctinasty

{play}AUDIO/greece/STAVROPOULOS Nikos – Nyctinasty.mp3{/play}

STEFANOU Giorgos – tape24

{play}AUDIO/greece/STEFANOU Giorgos – tape24.mp3{/play}

TZEDAKI Katerina – Jyoti

{play}AUDIO/greece/TZEDAKI Katerina – Jyoti.mp3{/play}

 

 

 

 

 

Future Song (approximate duration 2 min.)                               2004-2005

 

… A supercomputer is performing a real time vocal analysis of the singer-performer while reciting poetry or singing a vocal line. The emotions, derived from the analysis,

trigger algorithms which create an acoustic environment (homogeneous or heterogeneous) to accompany the performer….

The piece is a complex processing of a female voice, singing a song called “Marathon”.

Voice sample: Ioanna Z.

 

The piece was realized at the composer’s  personal studio.

 

 

 

Program Notes

 

Avaton estate is a piece about the unforeseen antiphasis and the bold antithesis resulting from a perturbation of a harmonical  equilibrium. It is about its microcosmos that becomes upsetting when it proves to be less noble its than blissful façade. After the restoration of the equilibrium, the system will rest under a veil of peaceful stagnancy.

 

Short Bio

 

George (Yiorgos) Fragiskos was born in Athens in 1976. He studied Politics at the University of Essex and Marketing in Strathclyde. He attended the MSc in Sonic Arts and Technologies at the Ionian University and is currently studying for a PhD on Electronic Music.

 

He has worked as a sound engineer and a musician with small bands in bars and clubs around Greece, as a computer music tutor, a college teacher and radio sound engineer among other things.

He currently composes tape music as well as pop electronic music with electroacoustic hints.

He is a member of HELMCA, the Hellenic Electroacoustic Music Composers Association.

He is a founding member of the Hellenic Acoustic Ecology Association and a former member of the Medea Electronique Collective.

 

 

 

Stelios Giannoulakis

Introspective 1 (2009)

Stereo for multispeaker diffusion

8:50

 

Textures immersed in noise, movement through layers of veil. Broken pieces made round levitate. Echoes in glimmering light. An electronic dive out of time, into the depths of some hidden world within.

 

 

 

 

 

Stelios Giannoulakis

 

Born in Athens, Greece, 1971. He took a degree in Electronic and Biomedical Engineering at the National Technical University of Athens. Master of Arts in Digital Music Technology at the University of Keele with Mike Vaughan and Rajmil Fishman. Ph.D. in Electroacoustic Composition at the University of Wales Bangor with Andrew Lewis. Composition with recorded and synthesized sound, sound diffusion with real time control, tools for creative sonic manipulation, improvisation, pop culture, instrument construction. Music and sound design for concert, theatre, video, dance, installations and video games.  His works are being performed in international festivals and conferences, as well as on the radio. Since 1987 working with various music groups, performance collectives and artists, such as 14th Day, Personal Cinema, Elektrobalkana, Medea Electronique, Direct Connection and others. International awards and commissions. Teaching music technology and composition in Athens, writing for MusicPro magazine. Member of TEE, HELMCA and SAN.

www.myspace.com/sinusexplorer

 

 

Title: Passage to Dawn 7:25 (2005)

 

Stereo, for multi-speaker diffusion

 

Sounds derived from the materials and the acoustic properties of a place converse with sounds relating to its function and the people that spend time in it. Keeping strong references to the real world we start following tangents that lead to much unexpected places… This is a later major re-edit of the second movement of a piece composed for Passage Subé in Reims France in October 2002, commissioned by Studio Césaré. I recorded a twenty four-hour cycle in the passage and derived the musical structure of the piece from the distribution of energy over this cycle and the events that mark the different stages in the daily function of the passage.

 

 

 

 

Stelios Giannoulakis

 

Born in Athens, Greece, 1971. First degree in Electronic and Biomedical Engineering at the National Technical University of Athens. Master of Arts in Digital Music Technology at the University of Keele with Mike Vaughan and Rajmil Fishman. Ph.D. in Electroacoustic Composition at the University of Wales Bangor with Andrew Lewis. Interests include composition with recorded and synthesized sound, sound diffusion with real time control, tools for creative sonic manipulation, improvisation, pop culture, instrument construction. He composes for concert, theatre, video, dance, installations and video games and has presented work at international festivals and conferences, as well as on the radio. Macbeth, Protoporia Group, Athens (2006); CanYouHearMe?, Futuresonic (2006); Urban Fractals (2006) – Open 24/7 (2005) dance productions, 14th Day, Athens; Music and sound design for The Making of Balkan Wars: The Game, Personal Cinema (2003). Commissions for the composition of electroacoustic pieces (Studio Césaré ‘Lieu de passage’, France 2002; BBC Platform 2000; Bangor New Music Festival). Awards: CEC Jeu de Temp (2003); Society for Promotion of New Music (2001, 2002); Bourges International Electroacoustic Competition (1999, 2001). Member of HELMCA (Hellenic
Electroacoustic Music Composers Association).

 

 

TITLE OF WORK
Electric Idyll I «Serenity» op.78 – duration 4.30                           2008

PROGRAMME NOTES
The work is part of a larger project. It is based on very “delicate” and “old fashion” analogue like sound material.

 

 

 

 

 

 

NICKOS HARIZANOS was born in Athens. He studied Composition, Orchestration, Harmony and Counterpoint in Athens under the supervision of composers Christos Lambrianidis and Spiros Klapsis from 1992 to 1999. He then continued his studies in Composition at Manchester University (2000-2001) with Professor John Casken and Professor Geoffrey Poole, graduating with a research Master’s degree (MMus) in Composition. He was offered a place for PhD studies in Composition at University of Cardiff (U.K.). His music has been performed at many  countries (U.S.A., Japan, Russia, U.K., Mexico, Ukraine, Germany, Bulgaria, Spain, France, Portugal, Poland, Rumania, Cyprus and Greece). He has also received numerous of first prizes and distinctions in numerous of  International and National Composers Competition. His music has been broadcasted by National T.V. and Radio Stations. He is member of  the Greek Composers Union (GCU), the Hellenic Electroacoustic Music Composers Association (HELMCA) (Greece), Centre of Research of Contemporary Music (founded by Iannis Xenakis) (KSYME) (Greece). His name is included in Who Is Who Encyclopaedia (2006 edition). His works are published by Da Capo Music Ltd (U.K.) and Gold Branch Music Inc. (U.S.A.).

 

 

MUSIC TOYS ROOM op.84 (2008) – Duration 10’50’’

 

The work is based on natural – physical sound resources and materials which are all performed, recorded and manipulated by the composer. The title is referred to a quite surrealistic, imaginative and psychedelic room full of “music toys”.

 

 

 

Title: Kardaş

Format: Stereo tape

Duration: 9:02

Date: 2008

 

Program Notes

The word -Kardaş- in Turkish means brother, but we use it in Greek as well to denote a brotherly friend. Most often, culturally Greece is linked to the ancient times, usually to the golden age of the Athenian dominancy. For foreigners, but probably also for modern Greeks, the whole culture seems to be focused around the marbles and the ancient texts, dated around 500 B.C. The truth is though that the contemporary culture of this country passes through the Ottoman Empire, a fact very little discussed. It seems as if we are trying to shake off the remains of the Ottoman influence and create an idealised view where the indigenous Greek culture is only based on the ancient times, neglecting the fact that the two people (Turkish and Greek) have been living together for many years and that the cultural exchange has defined both sides. The current piece draws upon ideas from the latter context. Among others it makes use of a traditional instrument used in both countries’ folk music, the Kanun. I wish not to talk at all about the structural concerns of the current work; it is simply open to interpretation.

 

Around the first quarter of the 20th century the two countries decided on a population exchange. As a result, around two million people where forced to leave their land in order for an ethnic homogenisation to be accomplished.

 

 

 

 

 

 

Orestis Karamanlis: Born in Athens, Greece. Currently undertaking research in the field of electroacoustic composition at the Sonic Arts Research Centre and awaits the summer. More information can be found at www.orestis.interstellaroverdrive.gr

 

 

 

Title: Transduction

Format: Stereo Tape

Duration: 8:04

Year: 2008

Music: Orestis Karamanlis

Contact: okaramanlis01@qub.ac.uk

Program Notes

I have always found it difficult to substantiate any form of art.

Authors’ information

Orestis Karamanlis: Born in Athens, Greece. Currently undertaking research in the field of electroacoustic

composition at the Sonic Arts Research Centre and awaits the summer. More fanfara can be found at

www.sarc.qub.ac.uk/~okaramanlis

 

 

 

 

 

 

Konstantinos Karathanasis (b. Athens, Greece) is an electroacoustic composer who draws inspiration from poetry, artistic cinema, abstract painting, mysticism, and the depth psychology of Carl Jung. His compositions have been performed at such festivals as ICMC, SEAMUS, SYNTHESE, Wittener Tage für neue Kammermusik, Moscow International Contemporary Music Festival, Elektrophonie, BIMESP, SICMF, among others. His music has received recognition in international competitions, including Bourges, Musica Nova, and SEAMUS/ASCAP. Recordings of his music are released by SEAMUS, ICMA, Ionian University and Musica Nova, and broadcast by the Art of the States (www.artofthestates.org). Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo, and is currently an Assistant Professor of Composition & Music Technology at the University of Oklahoma.

 

Pollock’s Dreams: Liquefied Sounds

Year composed: 2007 Dur: 9:59

The title refers to Jackson Pollock’s paintings using his dripping technique, which became the source of inspiration for this quadraphonic piece. Volatile environmental sounds captured around the University of Oklahoma, Norman campus underwent a condensation process through Max/MSP (including phase vocoding, and/or granular synthesis “freeze”, filtering, envelope shaping, pitch shifting, among others) to be transformed in to liquid pigments. The liquefied sounds were then arranged in to the canvas (Pro Tools) and balanced dynamically through spontaneous real-time processes. This piece was made possible with the support of funds from the Research Council of the University of Oklahoma.

 

 

 

Response (2001)

(part of the Grand Piano Trilogy)

for tape alone

duration 9’ 06 minutes

Response for tape was composed during the summer of 2001 while I was composer in

residence at the studio ‘Métamorphose d’Orphée Musiques et Recherches in Ohain,

Brussels. It follows Breakwater as the second piece of a project in process called

Grand Piano Trilogy. I decided to take a unified sound source, the sound of the piano,

in order to go deeper into the sound and the structure of it, to investigate its own

gravities and tensions.

The piece is characterized by a wide variety of both artificial and natural responses,

triggered by energetic impulses and resonators. The response vibration may be a

simple harmonic motion based on a minor second, or a more complex action created

by distorted sounds or inharmonic textures. The response’s impulse may be as short

and simple as a click of a spire along the string, a cluster produced by a modified

hammer inside the piano, or a damped or pizzicato note. In these examples, the sound

material is manipulated in the time domain through convolution, granular processes,

time-stretching and other techniques. On the other hand, the response may be an

elaborate resonant structure itself. Energy is applied as a repeated stream of pushes

functioning as sound generators. The sources used to achieve this are circular,

sweeping and accelerated strumming sounds performed inside the piano with different

materials such as glass or plastic. The processing techniques which are applied are in

frequency domain FFT-based cross synthesis and analysis/ resynthesis, as well as

more standard signal processing, such as harmonizing, frequency shifting, phasing

and specialization.

The piece unfolds as the initial idea is gradually developed and transformed. Sections

which involve pitch implementation are followed by inharmonic sections and so on.

Each phrase is built up by many short sound samples in a kind of micro montage /

mixage, revealing interesting timbral interactions between them. – Panayiotis

KOKORAS, August 2001, York -.

This piece was awarded First Prize at the electroacoustic composition competition

Musica Viva 2002 in Lisbon, Portugal; Second Prize at the biennial acousmatic

composition competition Noroit Petitot Prize 2002 in Arras, France and Honourable

Mention at the international electroacoustic music contest of São Paulo CIMESP 2001

in Sao Paul, Brazil. Moreover was finalist at Musica Nova 2001 International

Electroacoustic Music Composition Competition in Prague / Czech Republic; 24th

Luigi Russolo International Electroacoustic Music Composition Competition 2002 in

Varese / Italy; V Pierre Schaeffer 2005 – International Computer Music Competition

in Pescarese / Italy.

 

 

 

True Story (2009)

for tenor saxophonist and electronics

True Story was written for LOOS ensemble and the Electronic Music Laboratory of

Vilnius, Lithuania. It was included in the Festival-Workshop “The Process No.5” as

part of the program of the European Capital of Culture 2009, Vilnius. The work was

first performed by Peter van Bergen at the saxophone and Luis Naón controlling the

electronics on the 20th September 2009 at the Energy Museum of Vilnius. The sound

material used in the piece was performed by Pedro Bittencourt on a baritone

saxophone at the studio of MSH (Maison de Science de l’Homme) of the Université

de Paris VIII. Also, part of the piece was realised at the studio of the Lithuanian

Composers Union.

Program Notes

This is the story of a voice

the story of a voice emerging from silence

a voice born from nothingness

This is the story of a voice struggling to speak

the story of a voice straggling to be heard

a voice of truth

This is the story

This is True Story

Dedicated to Charles Mingus

The Ideas

There are two preliminary ideas in the basis of the conception of True Story: first, the

inspiring ‘force’ of Charles Mingus’ Moanin’ and second, the dipole of existenceinexistence,

or order-chaos. More importantly, the work was conceived and developed

in the context of the interdisciplinary scientific field of Systemics.

In the perspective of the dipole existence-inexistence, order-chaos, the electronic

part represents chaos and inexistence while the saxophonist represents order and

existence. While the sound activity of the saxophonist is emerging – while its

instrumental sound starts to exist – it provokes something it cannot control directly,

something chaotic: the electronic sound. The work is the result of the interaction

between these two elements, a kind of oscillation between the two poles of this dipole.

The Realisation

The creation of the electronic part was based on a self-organised system written in

MAX/MSP. The system is the result of a complex network of delay lines, which can

individually change their parameters according to their perception of the environment

and their settings. This is possible through a live perceptual analysis of the sound

environment. Notably, there is no other sound processing than the result of the

system’s self-regulating processes. All system’s processes are observed and controlled

by the system’s ability of sound’s control feedback.

Consequently, the sound material derives from two types of the system’s use: as a

‘closed system’ (a system of controlled conditions) and as an ‘open system’ (the way

all living organisms behave). In the second case, as the system is ‘open’, it can

perceive its external environment and consequently it can be influenced by this

environment. This is used mainly for the low sounds deriving from a filtered

perception of the systems external environment, which in this case is the acoustic

space of the studio of the Lithuanian Composers Union.

In the first case, i.e. using a ‘closed system’, the system does not perceive its

external environment and therefore it is unable to perceive the result of its internal

process and change it accordingly. For that reason, the result depends on the internal

nonlinear interactions between the systems elements using material from a baritone

saxophone of the studio of MSH.

The Recording

The work was first performed in the big hall of the Vilnius Energy Museum from

which comes also the recording. The long reverberation in the recording is a natural

effect of the particular space.

 

 

 

 

THEODORE LOTIS

 

“Instant of a crystal glass” 09:14 (2007) 

 

The piece is an imaginary abstract soundscape of a crystal glass. The sounds that have been used for the composition derive from hits on the surface of a crystal glass and co-exist with some recordings of a saxophone, a piano and a breath. Thanks to Andreas for the saxophone recordings, to Maria for the piano and to Olga for the breath. Instant of a crystal glass has been commissioned by the Visiones Sonoras 2007 Festival in Mexico.

 

 

 

 

 

Apostolos LOUFOPOULOS (Greece): ICARUS, for tape (13’)            2007

Icarus was composed in summer 2006 utilising recordings from the natural environment of the

island of Corfu. In this work the action of ‘flying’ is approached through a variety of soundbehaviours

(fluttering, quick noise passages, air motion), which appear to interact with a continuously

changing, sometimes ‘natural’, sometimes abstract background. The work is inspired from the

myth of Icarus, and metaphorically relates to the effort of human to reach the sky and go beyond

the limits of his biological nature. A sum of different ‘flying’, evolving behaviours – from bird-like to

jet-like sounds – presents this human struggle throughout the work. Towards the end the context

becomes repetitive and ‘rhythmic’, indicating the continuous attraction and undying human desire

to reach the ‘sun’, the symbol of superiority and perfection. This work is part of the “Hellenic

Soundscape Research and Study” program, funded by the Hellenic Ministry of National Education

and Religious Affairs’ Operational Programme for Education and Initial Vocational Training (O.P.

“Education”) and coordinated by the Electroacoustic Music Research Lab of the Music Department

of Ionian University.

 

Biography

 

Apostolos Loufopoulos was born in Greece, 1974. He studied electroacoustic music at the Ionian

University of Corfu (Music Degree – 1999) and at City University, London (PhD in electroacoustic

composition – 2005). He has attended seminars on contemporary composition and music technology

at IRCAM (Paris, Academie d’ete, 1998), and he has participated in many electroacoustic

music concerts, and in well-known international festivals and conferences on the twentieth century

music, including ICMC (2003-2005), L’Espace Du Son (2002-03), Cinema for the Ear / DIEM

(2002), and others. He has been awarded prizes at international competitions, such as Prix

‘NOROIT-Leonce Petitot’ 2002, Bourges 2003, Prix ‘SCRIME’ 2003, ‘Metamorphoses 2002-2004’,

‘Space of Sound 2004’, ‘Musica Nova’ 2004, ‘Franco Evangelisti’ 2006. His works have been performed

in Greece, United Kingdom, USA, France, Belgium, Denmark, Austria, Hungary, Singapore,

Canada, Argentina, Chile, and have appeared on different CD collections (Ionian University, Musiques

et Recherches, INA-GRM / Scrime-Noroit,), on the radio (France-UK-Canada) and on the

internet. He is a member of Sonic Arts Network, HELMCA (Hellenic Electroacoustic Music Composers

Association) and of Project ITINERANT. Apostolos Loufopoulos works as a freelance composer,

music producer and teacher. His music is highly influenced by the sound of the natural environment.

In 2006 he began a post-doctoral research at the Ionian University-Greece involving observation

/ systematic recording of real-world soundscapes and composition of electroacoustic music

based on the recorded material.

 

 

 

Lust – Illusions by Medea Electronique

 

Man, when perfected, is the best of animals; but when isolated he is the worst of all; for injustice is more dangerous when armed, and man is equipped at birth with the weapons of intelligence, and with qualities of character which he may use for the vilest ends. Wherefore if he has not virtue he is the most unholy and savage of animals, full of gluttony and lust. Aristotle – Politics.

 

Music – Manolis Manousakis

Video concept and edit by Haris Germanidis using video content created by K.Black and J.Cook www.vjzoo.com

 

Baritone Sax Samples by Joe Tornabene

Voice Samples by Helen Koutsoubi

Piano Samples By Lorenda Ramou

 

www.myspace.com/manolismanousakis

www.medeaelectronique.com

www.emw.gr

 

 

 

 

 

Manolis Manousakis

Born in Athens in Greece (1975). He gained his footing in live theater while at Columbia College in Chicago, where he studied composition with Gustavo Leone before returning to work with Tim Ward and Andreas Mniestris at the Ionian University in Corfu, Greece. Prior to his sojourn in Chicago, Manousakis had already composed the music for a short film called Angel (1994) and was deeply engaged in both independent avant-garde theater and in the popular theater of his native country. Since that time, he has rarely been without a film or stage project and as a result has embraced a wide variety of stylistic influences.

 

He is a co founder of ElectroMediaWorks, and the Director of Medea Electronique synergy of Artist.

 

He works as a composer since 1998. He has composed over 50 works for small ensembles, solos, electroacoustic, video art and multimedia shows. He has also composed the original music for theater shows, documentaries, tv series, short films and theater dance shows.

 

He has participated as a composer at concerts and festivals including the Altavoz Events in Italy 2008, NWEAMO – SAN DIEGO CA festival (2007),  the multimedia show “Medea Electronique Project_1 ” – Benaki Museum (2007), the music show «Tetrachromia» – fillipos Nakas concert Hall (2005), the multi media show «Stench on A white shirt) at Small Music theater and the  music theater show  “22 Miniatures and a Theater sketch” directed by Melina Mascha at Fillipos Nakas Concert Hall (2004). Compositions of his have been performed by the San Francisco Contemporary Music Players (Solist Rufus Olivier), at the Getz Theater Chicago Illinois from the ‘The fry string quartet” at  The College of William and Mary and the Henderson State University by palmos Duo etc.

 

Web: www.arteevate.com www.medeaelectronique.com

 

 

 

 

 

HARIS GERMANIDIS

Born in Athens in 1975 he has studied Technology of Electronic Installations and Industrial Automatisms, Film Directing and Photography. For the past decade he gained his professional experience in both the Technical and Artistic field.  Initially working as a Electronic Technician and later going in to the Film and TV Commercials industry, he is now a Producer for international TVC productions.

In the same time and for the past 2 years now, he is developing a visual language through video content creation used in live mixings and projections he designs and performs. Besides exhibiting/ performing his work in clubs and events he has joined the Multimedia group of artist Medealectronique (.com) to cooperate and explore new creative possibilities with the use of the mixed media techniques.

 

 

Variations’ Variations

 

This piece was composed specially for a concert dedicated to Brahms’ work, after a commission by the Italian association “Amici della Musica” of Cagliari where the piece was premiered in June 2nd 2001.  It is based on the idea of creating a variation form using as source material the sound of a recorded performance of a Brahms’ composition.  I have decided to work on the orchestral version of Brahms’ Haydn Variations because this would be a direct reference to the practice of using original musical material and reorganizing it at will.  In this case Brahms has used the material of Haydn who has used the material from a medieval pilgrims’ chant.  At the same time I have chosen to work on a variation form because I see it as a “neutral” form in the sense that it is more closely related to transformations — quite abstract processes applicable to any material within various contexts.

 

 

 

 

 

ANDREAS MNIESTRIS

Born in Piraeus/Greece he studied Physics in the University of Thessaloniki and then he begun studying Music, soon to be attracted by Musique Concrète while, at the same time, he begun practicing the saxophone as a result of a constantly increasing interest in afroamerican music and free improvisation. He continued his studies in Electroacoustic Music in Paris at the Université Paris VIII and then in California at Mills College where he has studied among others with Robert Ashley, David Rosenboom, Anthony Braxton et al.  He has returned to Greece in 1991 where he has worked as a saxophone player and sound engineer in Thessaloniki and Athens.  Since 1995 he lives in Corfu where he teaches at the Music Department of Ionian University and is the director of the EPHMEE (Electroacoustic Music Research Lab).

 

-track name:  OVERLOAD

-Time:   07:00 minutes

Year: 2007

– program notes:

there is a noise inside my head
everybody can hear it
in the silence it grows
sawdust and stockings rasping
overload
there is not enough space in my head for this noise
it expands and tightens
it swallows me in sleep

 

– technical requirements:   cd player – 10 minutes sound check

 

 

 

 

 

 

Andreas Monopolis was born in Corfu in 1976. He collaborates with the Department of Music of the Ionian University he is also a member of the Electro-acoustic Music Association of Greek Composers. His artistic impulse is expressed not only through music, but also through images and materials images.

 

 

www.monopolis.gr

 

Lefteris papadimitriou is a Greek composer and performer. He was born in Volos and lives in Athens. He has studied composition with Iannis Ioannidis  and he is a graduate and candidate doctor at the music departmet of the University of Athens. He has written many compositions for live instruments and electronic media. His works has been played in Greece and abroad. In  2006 he won the international Gaudeamus Prize  with his composition for piano and orchestra, titled  “Black and White”. In 2007 he participated  at the “Acanthes” composition workshops under Yan Maresz, Michael Jarrell and Marco Stroppa.

 

Scorpius (2007)

Duration 6.30’

The piece is constructed of small fragments and phrases. Variation and collage  are the main transformation techniques used in it.  The title refers to the zodiac sign.

 

 

 

 

 

 

Spyweirdos ( Spyros Polychronopoulos)

 

Release: 2007 on Creative Space recordings

Track title : two lonely

Duration: 3:35

 

 

This piece is made from sounds recorded by me (field recordings) as I was walking around. I composed track for all the people trying everyday to do remarkable things but they don’t get there so they try again and the next time is they get to the same spot. Each sound is for each different people who want to do quite the same things with different ways, but fail. So they stop for while and take another shot, this loops for some time as more people (sounds) come and go. In the end there comes a sound that never stops and drifts all the other sounds and that’s a revolution!

 

 

 

 

 

 

Vassilis ROUPAS

 

 

program notes

“Lullaby” uses a traditional lullaby and natural sounds as its basic material. The aim was to express the psychological phases that a child of pre-school age passes when put by his parents to sleep at night. Empirical observation showed three such phases: 1) Denial-fear (tension), 2) Chaotic review of the day’s events (relaxation), and 3) self-surrender (sleep). Likewise, the structure of the piece is tripartite. A traditional lullaby from Northern Greece was used (from a CD of the Musical Folklore Archive). Natural sounds were recorded in two ways: 1) monophonic-analog, and 2) stereo-digital. The main processing techniques used were time-stretching, granulation, and filtering (band-pass and comb filters). Composition started in 2005 but the piece was completed in 2007, on the occasion of the 1st Acoustic Ecology Conference in Corfu, Greece.

 

biographical data

Vassilis Roupas was born in Athens, Greece (1963). He initially studied piano and computers, and later advanced music theory and composition. He composes electronic/electroacoustic music since the late 1980’s and is one of the founding members of the Hellenic Electroacoustic Music Composers’ Association. He is also a member of the Greek Society for Acoustic Ecology.

 

Nyctinasty by Nikos Stavropoulos   10:09

 

The work is concerned with organic movement, growth or reduction, as reaction to stimulus. Stimuli are either present in the sonic world of the work or implied. The title, borrowed from botany, refers to nastic (non-directional responses to stimuli) movement in the dark. The events portrayed in this piece are fictitious, and any resemblance to real events, past, present, or future, is entirely coincidental but highly probable. The work was realised at the composer’s home studio in the summer of 2009.

 

Technical Information

 

The work was created using Pro Tools LE sequencing software. Tools for sound development included GRM tools Soundhack, Kontakt Sampler and CDP. Original recordings include traditional  plucked instruments ( bouzouki, Saz). These sounds are not traceable in the work and there for the origins of all sound materials are of no importance.

 

 

 

 

 

 

Nikos Stavropoulos was born in Athens in 1975.  He studied Piano, harmony and counterpoint at the National School of Music and Nakas conservatoire in Greece.  In 2000 he graduated from the Music Department of the University of Wales, Bangor where the next year he was awarded an MMus in electroacoustic composition studying with Dr. Andrew Lewis.  He is currently working towards a PhD at the University of Sheffield Sound Studios with Dr. Adrian Moore.  His works range from instrumental to tape and mixed media.  He has composed music for video and dance and his works have been awarded mentions and prizes at international competitions (Bourges, 2000,2002, Metamorphose, Brussels 2002, 2008, SCRIME, Bordeaux 2003, Musica Miso, Potrugal2004).

 

 

 

 

Stefanou  Giorgo

 

 

BIOGRAPHY

Stefanou  Giorgos  was  born  at  Thessaloniki  in  December of 1982.  Graduated  from  high school  in  1998.  The  last  five  years  he  is  studying  at  the Technological  and  Educational Institute  of  Crete,  department  of  Music  Technology  and  Acoustics. From  2002  he  is being  involved  in  electroacoustic music  compotition. Also he is member of Hellenic Electroacoustic Music Composers Association [H.EL.M.C.A.]

 

 

TAPE #24 – RITHY2350

This composition concerns mainly my personal exploration in music. The spectro-morphological characteristics were selected at the duration of composition and constituted a way for the exploration of new ways in the structure of musical piece. Was given particular attention in the continuous internal movement of rhythm and spectrum with way so that it becomes more natural in listener. As central axis for the creation of this composition was a dream for a future,in a likely intellectual and cultural rebirth, 300 years afterwards, in the city of Rethimno.

 

 

Jyoti , for 8-channel tape – stereo version (9′- 2007)

Jyoti is the Hindi word for light. Light is a form of energy, which usually is perceived by us as

something coming from outside. Various spiritual traditions speak also about inner Light and

Sound. This seemingly dual notion of light and transitions between inner and outer are used

as construction metaphors in this piece.

Katerina Tzedaki, born in Greece, studied in Athens (1981-1991) with I. Ioannides, S.

Vasilleiades and D. Kamarotos and has been coordinator of Computer Music Lab of the

Program of Psychoacoustics of the Aristotle University of Thessaloniki (IPSA) (1994-200).

She completed her MA in electroacoustic music composition at City University (2002). She

is currently teaching at the Technological Educational Institute of Crete while at the same time

she is a research student in electroacoustic music composition at De Montfort University

(with Simon Emmerson). She is a member of the Hellenic Association of Electroacoustic

Music Composers, Sonic Arts Network and ICMA.