Delian Academy for New Music Summer 2021

18 - 27 June 2021 globally | online

DELIAN ACADEMY FOR NEW MUSIC International Summer Academy for Composers and Sound Artists

Fourth Edition 18 - 27 June 2021 online

Honorary President: Georges Aperghis Artistic Director: Alexandros Spyrou Composition: Franck Bedrossian, Christophe Havel, Josh Levine, Dimitri Papageorgiou Ensembles in Residence: Proxima Centauri, Awkas Guest Artist: Nike Lada

With the friendly support of:

SYNAVLIA 1 Opening Concert Nike Lada, voice Friday, 18 June 2021 17:00 UTC

Sequenza III (1965)

Luciano Berio

for female voice

Récitations (1977–78) [excerpts]

Georges Aperghis

for solo voice

Proesie su testi di Federico Maria Sardelli (2020) [excerpts] for solo voice

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Francesco Filidei

SYMPOSION 4th International Symposium on New Music 19-21 June 2021 The annual international symposium on new music aims to bring together composers and researchers in order to exchange ideas, share experiences and discuss research outcomes in the fields of contemporary music and composition. The focus themes of this year’s sessions include music technology and musical time, sonic features, as well as concepts of form and music perception.

Curation: Alexandros Spyrou

Saturday, 19 June 2021 Session 1: Technology and Musical Time

15:00 UTC A poetics of mixed music Christophe Havel Mixed music, as it appeared in the second half of the 20th century, was born from the encounter between two technologies: one, mechanical, with the development of an increasingly precise and controlled instrumental lutherie, the other, electronic, which was born in composition studios before reaching the stage. From this encounter, a new musical poetry will emerge, always in relation with the evolution of technology but sometimes knowing how to distance itself. This text proposes a personal reflection on this (relatively) new practice through the journey of some of my works.

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16:40 UTC Active and Slow Dzovinar Mikirditsian Slowness is a captivating phenomenon - a timeframe where rhythm stretches out to become infinite, almost imperceptible, where details become stepping stones towards a newly forged materiality whose birthing creates motion that swallows you. A new space is thus created, a non static floating time, manifesting a perpetual creative process.

17:00 UTC Being in the world and contemplating change: some thoughts on my composing Josh Levine In this presentation I will first describe my raisons d’être as a composer and the compositional concerns that most fascinate me. I will then focus mainly on two of those interrelated elements: my use of music-historical references; and how metaphors drive my conception of musical time as both architectural and narrative. The ideas discussed will be amply illustrated with work examples.

Sunday, 20 June 2021 Session 2: Sonic and Timbral Peregrinations

15:00 UTC The dramaturgy of complex sounds Franck Bedrossian The very material that a composer utilizes in a piece of music, always bring with it certain characteristics, affects, types of perception and specific historical features. Complex sounds have been one of the main elements I have constantly used in my works. Throughout specific examples 3

and score excepts, I will present and analyze the multiple consequences of using complex sounds in my music, from the aesthetics of saturation to the most recent theatrical features.

16:40 UTC Solid Silence Alfred Jimenez

Something meaningful to me is the perception of sound from the standpoint of real physical effort put into the formulation of sound, instead of only recognizing the sonic result. The term solid silence somewhat describes what I am working with and what I was working against.

17:20 UTC Heavy metal: sound, performance, and the extreme Jared Bennett Due to its intensity, heavy metal is ostensibly an underground genre. Contemporary classical music shares a similarly alternative space; what might the former teach us about the latter? In this talk, I will investigate how contemporary composers might engage with the genre, thinking particularly about sound, performance, and the extreme.

18:00 UTC My curiosity about potentialities of human voice in music.

Xue Han My presentation will focus on the roles that human-voice-related elements have played in my composition. My curiosity about various expressions of vocal elements, my concerns regarding the communicative and semantic attributes that come with human voices, and some inspirations from the cultural reflection will be discussed.

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Monday, 21 June 2021 Session 3: Patterns, Form and Memory

15:00 UTC Interlockings Dimitri Papageorgiou This lecture is an introduction to the basic theoretical and practical aspects of the Interlocking Technique, which I have invented and modeled at the Institute for Electronic Music and Acoustics of the Universiy of Music and Drama at Graz during the artistic research project Patterns of Intuition. This technique is both a) a genetic process, a systematic way of constructing patterns based on some simple initial data, and b) a reconstructive process, a way of transforming these patterns through the creation of structural homologies, by means of algorithmic manipulations.

The presentation entails my works In the Vestige of the Present, Quasi (ébauche), and Εven the Sky Screams Sometimes too (Version II).

16:40 UTC Perception, Figures, Form Matteo Tundo If emotions and feelings are inevitably linked to subjective experience, perception has more instinctive and easily predictable characteristics. One of the ways to manage perception through composition is the use of figurality, which can be understood as diachronic, synchronic and gestural. The evolution of the figures gives life to the form, to be considered therefore as perceived structure.

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17:20 UTC “Imagined Reverse”: the erosion of material into slow motion in Dai Fujikura's ‘Flare’ David Nunn My analysis of 'Flare' offers an insight into 1) how a composer might construct an entire piece out of the transformation of a single extra-musical idea; and 2) how they might use musical form to alter the way in which a listener perceives the passing of time.

18:00 UTC More-than-human: musical exercises for exploring relationships with plants, animals, and memory Luis Fernando Amaya Can aesthetic experiences inform how we relate to others? In this presentation, I share my experiences and findings with using music composition as a psychological exercise to analyze and, ultimately, transform my relationship with plants, animals, and even ideas or sets of collective memory.

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SYNAVLIA 2 Ensemble Proxima Centauri Wednesday, 23 June 2021 16:00 UTC

Pli d’Eden (2019)

Christophe Havel

for saxophone, percussion and electronics

Inflorescence IV (2011)

Josh Levine

for two flutes

The edges are no longer parallel (2013)

Franck Bedrossian

version for 2 musicians and electronics

…risuona piu lontano che mai (2018)

Dimitri Papageorgiou

for flute, saxophone, percussion and piano

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SYNAVLIA 3 Awkas Ensemble Friday, 25 June 2021 16:00 UTC

Perpetuate Obstructions (2021)

Alfred Jimenez

for flute, saxophone and cello

Illusional Inflorescence I (2021)

Xue Han

for saxophone and percussion

From air (2021)

Seokmin Mun

for solo flute

Diode VI (2021)

Tsu-Yao Yang

for flute, saxophone and percussion

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SYNAVLIA 4

Pieces for soloists and electronics Roman Bayani, percussion | Nike Lada, voice | Bera Romairone, saxophone

Saturday, 26 June 2021 15:00 UTC

Guerrilla de dientes entre los árboles (2021)

Luis Fernando Amaya

for solo percussion

I’d blush if I could (2021)

Jared Bennett

for voice and electronics

Under the frozen tree (2021)

Dzovinar Mikirditsian

for voice and electronics

For_voice (2021)

Konstantinos Baras

for voice and live electronics

Assemblage 2 (2019)

Alexandros Spyrou

for saxophone and live electronics

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SYNAVLIA 5

Ensemble Proxima Centauri Saturday, 26 June 2021 16:00 UTC

Vermi (2020)

Matteo Tundo

for flute, saxophone, percussion, piano and electronics

Pavilion, Cave, Portal (2021)

X. Lee

for flute, saxophone, percussion, piano and electronics

Click to Win (2021)

Chonglian Yu

for flute, saxophone, percussion, piano and electronics

Au sujet de fusion: le genèse d’un(e)… (2020-21) for flute, saxophone, percussion, piano and electronics

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Stylianos Dimou

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