TNMAS 2021 "HYBRID WORLD CULTURAL RECONNECTION" by Thailand New Music and Arts Symposium TMAO

SCHEDULE *all events will be recorded and live-streamed through youtube @ Thailand New Music and Arts Symposium TMAO. all press release will be advertised in facebook @thailandnmas.

Monday 13th of December 18.30 - 19.30

Virtual Soloist Concert

Thursday 16th of December 13.00 - 14.30 15.00 - 15.30 15.30 - 16.30 17.00 - 18.00 20.00 - 21.30

International Composition Institute of Thailand: Final Concert International Composition Institute of Thailand: Award Ceremony Japanese Music Workshop Thai Instrument “Khaen” Music Workshop Discussion 1: Multidisciplinary vs Interdisciplinary

Friday 17th of December 10.00 – 12.00 10.00 - 11.00 11.00 - 12.00 12.00 - 13.30 14.00 - 15.30 16.00 - 17.00 17.00 - 19.00

Registration / Exhibition Project Performance 1: New Arts Collaboration Project Performance 2: Absolute Oblivion Discussion 2: Sound, Art and Media TNMAS Performance 1: Tradition and Distortion Paper Presentation 1: Numeral and Symbolic representation when coding in Estuary: Browser-based Collaborative Live Coding Project Performance 3: Hybridity and Reality

Saturday 18th of December 09.00 - 10.30 Paper Presentation 2: Magnificent Music Meet & Multicultural Integration of Tradition and Contemporary Dialogue 10.30 - 11.30 Paper Presentation 3: The Water Has Found its Crack: Finding Armenia Through Music 10.00 - 11.30 Registration / Exhibition 11.30 - 13.00 Discussion 3: Decolonization and Multiculturalism 14.00 - 15.30 TNMAS Performance 2: Global Scores 16.00 - 17.00 TNMAS Performance 3: Voice of New Generation, Young Thai Commission Concert 17.30 - 19.00 TNMAS Performance 4: Swiss Soundscapes

Sunday 19th of December 10.00 - 12.00 12.30 - 14.00 15.00 - 16.00 17.00 - 18.00 18.00 - 18.30

Registration / Exhibition Discussion 4: Hybrid World TNMAS Performance 5: Reconnection of Cultures TNMAS Performance 6: Collective Minds – Neural Network Closing Ceremony

Message from Director The cultural development of human society has been gliding and transforming according to sociological preferences at a particular time. As a result, cultural practices are manifestations of previous trends and social movements. At present, technological usage and media consumption are growing exponentially and infiltrating profoundly into daily life, implying that they inevitably share a significant portion of the current culture. We are currently living at the crossroads of the physical and digital worlds, which provides us with hybrid experiences—regardless of geographical boundaries, concepts of reality and digitality are amalgamated with elements of cultural diversity and creative technology, leading to new discoveries and innovations. The concept of hybridity raises several issues for artists and makers in our art community: How do contemporary artists make use of and expand the capabilities of media and technology in their artistic creation? Do we really require technology in our jobs, and if so, why? How do reality and digitality interact? Is the spread of innovation influencing or distorting their creative process? Thailand New Music and Arts Symposium 2021 includes works that represent multidisciplinary, intercultural, and hybridity with artistic diversity in the hopes of raising awareness, broadening our vision, and eliciting further questions about our cultural roots in order to generate creativity and advance new initiatives. On behalf of the Thailand Music and Art Organization, I would like to invite you to join us in exploring the endless possibilities of cultural reconnection in the hybrid world.

Noppakorn Auesirinucroch Artistic Director Thailand New Music and Arts Symposium 2021

Noppakorn Auesirinucroch Artistic Director Thai-born guitarist, Noppakorn Auesirinucroch attended the Pre-College program in classical guitar performance at the College of Music, Mahidol University, Thailand under the tutorage of Kiatkong Subhayon. During his studies, he participated and performed in several prestigious competitions and music festivals in European and Asian, namely The Netherlands, Belgium, Indonesia, Malaysia, Japan and Thailand. Noppakorn received several awards and recognitions inculding, 1st prize in Junior Category at Thailand International Guitar Competition 2012 (Bangkok), 1st prize in Junior Category at Asia International Guitar Festival 2013 (Bangkok), 1st prize in Junior Category at Indonesia International Guitar Festival 2013 (Jakarta), and 1st prize in Junior Category at Tarrega International Guitar Festival 2014 (Kuala Lumpur). Other than instrumental solo achievements, he actively participated in various collaborative projects. For instance, he was honourably selected to perform in Kurt Weill’s Opera “The Seven Deadly Sins” in the positions of a guitarist and banjo player, working with Dutch star soprano EvaMaria Westbroek at National Opera & Ballet, Amsterdam, The Netherlands. He obtained his B.M. and M.M. in the major of classical guitar performance at Koninklijk Conservatorium, The Hague, The Netherlands, where he studied with Professor Enno Voorhorst. He was awarded with “Fund for Excellence”, the full scholarship for the best Master’s candidates for his M.M. in classical guitar performance at Koninklijk Conservatorium, The Hague, under the guidance of Professor Zoran Dukic. He received the absolute highest mark with distinction for his master final presentation. Noppakorn had also studied and working with world-known classical guitarists, including Roland Dyens, Costas Cotsiolis, Raphaella Smiths, Xuefei Yang, Aniello Desiderio and Duo Melis. Apart from the classical side, he also interests and dedicates himself to contemporary music, in which he explores several musical ideas for his performance, such as sound, time, space, multi-sonic cultures, and cross-modal relations. Recently, Noppakorn conducts research on the topic of “Multi- sensory sonic experiences” in cooperating with the external mentor, Charles Michel, a former chef in residence at the Experimental Psychology Department, Oxford University. His research received an outstanding recognition, and it was selected to publish for a public at Research Catalogue. Currently, he works as a part-time guitar instructor at College of Music, Mahidol University, as well as a guitarist of the Tacet(i) ensemble and organizing music events across South-East Asia, East Asia, Europe, and The U.S. under the name of Thailand New Music and Art Organization, and Southeast Asia New Music and Arts Foundation. Recently he is serving as the music director of Thailand New Music and Art Organization and the director Thailand New Music and Arts Symposium 2021. 5

Siravith Kongbandalsuk Co-Director

Thai trombonist, Siravith Kongbandalsuk was awarded and participated in several international music competition such as Brass and Percussion Seminar and Solo competition 2013 (Thailand) , Svirel International Music Competition 2016 (Slovenia), Ian Bousfield tenor trombone competition 2017 organized by British Trombone Society (UK), and more. His musical performance explores beyond the realm of classical and contemporary music practices which including: interdisciplinary, theatrical practice, telematic, and interactive multimedia performances. Siravith has been a member and performed with many ensembles such as Bandung Philharmonic Orchestra, Thailand Philharmonic Orchestra, Netherlands Youth Orchestra (NJO), Nederland Student Orchestra (NSO), Princess Galyani Vadhana Youth Orchestra, Siam Sinfonietta and Southeast Asian Wind Ensemble, Million Wind Philharmonic, Limburg trombone ensemble, QuarterBone Trombone quartet, and the Tacet(i) Ensemble which he has been its member since the ensemble was founded in 2014. He was also invited to perform in the international music festival including: Asian Composer League, Kultur Kontakt Austria, Tokyo Media Interaction, and Thailand International Composition festival. Siravith obtained a Bachelor’s degree in classical trombone performance at College of Music, Mahidol University, Thailand under the mentorship with Philip Brink from 2010 – 2014, and a Master’s degree in music performance at Conservatorium Maastricht, Netherlands where he studied with Bart Claessens from 2015 - 2017. Siravith is a full-time lecturer at the Princess Galyani Vadhana Institute of Music in Bangkok. Currently, he is serving as a co-music director of Thailand Music and Art Organization, and the co-director of Thailand New Music and Arts Symposium 2021.

Piyawat Louilarpprasert Program Curator

“the rebel Thai composer taking music to unheard heights” (CNN News World)

Originally from Bangkok, currently based in New York, Piyawat Louilarpprasert is a composer who works with the interweave of music composition, visual art and technology. Piyawat has been awarded grants, commissions and prizes such as Donaueschingen Musiktage Global, The Südwestrundfunk commission (SWR), Ruchira Mendiones Research Fellowship (USA), Guerilla Opera Underground, Honor (USA), ASCAP Morton Gould Awards 2018, 20 and 21 (USA), American Composer Orchestra Earshot (USA) Fritz Gerber Lucerne Festival Commission (Switzerland), Matan Givol Prize (Israel), Matan Givol International Composers Competition Prize (Israel), Call for Scores Northwestern University Conference (Chicago), Bowling Green New Music Festival (Ohio), the Audrey Kahin Research Fellowship (New York), Minnesota Orchestra Composer Institute (USA, runner-up), Royal concerto orchestral composition prize (UK), Gabriel Prokofiev Nonclassical Music Competition (UK), Léon Goossens Prize (UK), Sergei Slonimsky Award (Russia), KulturKontakt Artist in residence (Vienna), Charles Stewart Richardson Award (UK), British Council Cultural Grant (UK), Pro Helvetia Grant (Switzerland), Japan Foundation Grants (Japan) and many more. His works were performed in festivals: Darmstädter Ferienkurse, Lucerne Festival, MUSIIKIN AIKA - Time of Music, Kulturkontakt Residency, China – ASEAN Music Week, Gaudeamus Musikweek, Saint Petersburg New Music Festival, and more. He also worked with renowned performers including Arditti, Berlin Philharmonic Horn Section, International Contemporary Ensemble, Yarn Wire, Wet Ink, Lucerne Alumni, Switch Ensemble, Orkest Ereprijs, Thailand Philharmonic, Aguascalientes Symphony Orchestra, American Composer Orchestra and more. As a scholar, he is awarded the Don Michael Randel Research Fellowship 2022 to conduct his new music course: P.I.Y. (Perform it Yourself) at Cornell University, Ithaca where obtained his DMA in music composition. His major teachers are Valeriy Rizayev, Dai Fujikura, Kevin Ernste, Marianthi Papalexandri Alexandri. In Thailand, Piyawat is currently serving as a chair and a program curator for Thailand New Music and Arts (TNMAS). More info: www.piyawatmusic.com

Thailand Music and Art Organization Thailand Music and Art Organization (TMAO) is non-profit/international assembly aims to support new art and music by local and international artists from around the world. TMAO has organized several artistic events, such as concerts, performances, exhibitions as well as educational programs such as workshops, masterclasses and seminars for both young Thai and international students in Asia, Europe and United States with perspectives of cultural exchanges and diverse creativities. Currently, TMAO collaborates with the Southeast Asia New Music and Art Foundation (SANMA) for curating yearly programs and supporting artists. Established in 2016, TMAO is creating and promoting the multiplicity of new music and art by collaborating with artists from Asia, Europe and the United States. Past events by TMAO includes, TMAO Music Day: Saxophone and Composition Workshop 2017 at College of Music Mahidol University (Thailand), public concerts in London (UK) 2017, collaborative projects with Dutch composers 2018 in the Hague and Amsterdam (Netherlands), Japan Foundation Grants: the Next Classical 2020 (Japan-Thailand), New Orient Call for Scores 2020 (Thailand and Online), British Council Grant: Connecting through Cultures 2021 (United Kingdom and Online). In 2019, the organization initiated the first annual Thailand New Music and Art Symposium (TNMAS), which focuses on the diversity of ethnicity, society, and culture, where the definition of “new art” can possibly convey to people the new contexts of artistic language, purpose, and spirit without separating the identity of disciplinary. TNMAS 2019: “Beyond Boundaries,” TNMAS 2020: Human, Technology, and Simulation were previous series of the symposium. The symposium has been a true achievement with promising evidence. We received more than 1,000 work submissions from artists from around the world. In addition, over 2,000 people attended the Bangkok Art and Culture Centre (BACC). 8

Tacet(i) Southeast Asia’s leading new music ensemble, Tacet (i), is focusing on the creation of new compositions by both local and international composers and artists, as well as new works with elements of music technology, improvisatory and interdisciplinarity. Tacet (i) premiered and collaborated with new artists and composers on over 50 new works each year within Thailand, Asia, Europe, and the United States. The ensemble has been performing in festivals such as Thailand New Music and Arts Symposium (TNMAS), China-ASEAN New Music Festival (China), Tesselat Collective Collaboration Project (Japan), Cornell Council of Arts (CCA, New York), Crossover Contemporary Music (Netherlands), Diffused Portrait (United Kingdom), Thailand-European Composers (Netherlands) and many other festivals. Tacet (i) is recognized and supported by prestigious organizations and individuals such as the Siam Cement Group Foundation (SCG Foundation, Thailand), British Council Grants–Connection through Cultures (CTC-UK), Japan Foundation Grants (Japan), Prohelvetia, Swiss Art Council (Switzerland), Princess Galyani Vadhana Institute of Music (PGVIM, Bangkok), Cornell Council of the Arts (USA), Vasinee Food Corp. (USA). The ensemble was recently featured on CNN Worlds as part of the Piyawat Louilarpprasert’s exclusive interview, “Young and Gifted: The Series: Meet the Rebel Thai Composer Taking Music to Unheard Heights.” Tacet (i) was founded by a group of Thai contemporary musicians with the strong intention of creating the new ideas of music and arts in Thailand since 2014. Currently, the ensemble intends to focus on collaborative projects involving living composers, musicians, artists, and performers. From 2014 to 2016, Tacet(i) created a variety of works including concert music, music and arts, electronic music, and sound installation, including “Tacet(i) Debut Concert” (Goethe institut Bangkok 2014), “CMC Experimental Sound Project No.1: Hor” (Chiangmai University, 2015), “Shuttling the Space’’ (See-Scape Chiang Mai Gallery, 2015), “Thai Composer and Music” (True corp, broadcast, 2015).

Tacet(i) Members

Phataporn Preechanon Flute

Saksilpa Srisukson Violin

Tapanatt Kiatpaibulkit Viola

Kantika Comenaphat Cello

Thanapat Ogaslert Electronic

Piyawat Louilarpprasert Conductor and Electronic

Noppakorn Auesirinucroch Guitar

Worrapat Yansupap Guitar

Tacet(i) Guest Artists

Boonyarit Kittaweepitak Euphonium

Jirayut Thaolipo Double bass

Kitikawin Muanchan Guitar

Christhatai Paksamai Clarinet

Pisol Manatchinapisit Saxophone

Siravith Kongbandalsuk Trombone

Sakda Pharchumcharna Tuba

Kantapong Rakbankerd Percussion

Kerksakul Jaree Piano

Korn Roongruangchai Violin

Jiraphan Khaokum Violin

Methawut Pimphapatang Saxophone

Guest Artists Thomas Piercy Thomas Piercy, based in NYC and Tokyo, is a critically acclaimed musician with appearances throughout the Americas, Europe, and Asia. Described by The New York Times: “Brilliant...playing with refinement and flair…evoking a panache in the contemporary works.” A versatile artist defying categorization – performing on the Emmy Award-winning Juno Baby CD/DVDs; performing with Earl Wild and Fernando Otero; working with Leonard Bernstein; playing hichiriki in Japan; recording with members of Maroon 5; performing on Broadway. Piercy has premiered over 300 works composed for him with composers ranging from 10 to 98 years of age: from emerging composers to composers that have won such prominent awards as the Pulitzer Prize, Grammy Award, Latin Grammy Award, Takemitsu Prize, and Geneva Prize. Studies: Juilliard School; Mannes School. Clarinet studies: Gervase De Peyer, Leon Russianoff, and Kalmen Opperman. Hichiriki studies: Hitomi Nakamura. Recordings for Albany, Capstone, DGI, Changing Tones, NJST, Tonada Records, others. Information: www.thomaspiercy.com

Ryo Hasegawa An up-and-coming young conductor and versatile arts advocate, Ryo Hasegawa currently serves as a Graduate Assistant Conductor of the Peabody Orchestra of the Johns Hopkins University, Chair & Founder of Mudita Japan, and Artistic Director of Seminole Music Celebration. Under the mentorship of the world renowned conductor, Marin Alsop, Ryo has performed at numerous concerts in the U.S. and Europe and launched several projects to promote diversity in music and art education. In 2019, Ryo made his American debut with the Charleston Symphony and served as the conducting intern with the symphony (2019-2020). He was a guest assistant conductor to his mentor Marin Alsop with the Baltimore Symphony for the world premiere of Color Field by Anna Clyne. He made his first European appearance in Estonia in 2017 with the Molodechno Symphony (Belarus) and 12

Christopher Adler Christopher Adler is a composer, performer and improviser living in San Diego, California. His music draws upon over twenty-five years of research into the traditional musics of Thailand and Laos, and a background in mathematics. He is a foremost performer of new music for the khaen, a free-reed mouth organ from Laos and Northeast Thailand, and has composed extensively for instruments from Asia. Ensembles such as the Silk Road Ensemble, the Tesla Quartet and Red Fish Blue Fish have performed his works in major venues across the U.S. and Asia. He has produced works based on early 20th-century Russian futurism, including a Violin Concerto written for Sarah Plum and Zaum Box for speaking percussionist. Recent works include Aeneas in the Underworld, a concert-length chamber oratorio based on Vergil’s Aeneid for solo speaking guitarist and ensemble, and Construct: for organ, commissioned by the American Guild of Organists. He is a pianist with NiefNorf and NOISE, an Affiliated Artist with San Diego New Music, a co-founder of the soundON Festival of Modern Music, and Director of Composition for the Nief-Norf Summer Festival. He studied with Scott Lindroth, Evan Ziporyn, Steven Jaffe and Sidney Corbett and is currently Professor of Music at the University of San Diego. His works are released on many labels including Tzadik and Innova, and his performances on labels including Centaur and Vienna Modern Masters. And in December, 2020, he released Triangulations: New music for khaen, volume 1, featuring new works by seven composers.

the Orquestra Nova de Guitarras (Portugal), followed by his Viennese debut with the PHASE ensemble. As an advocate of music from his native country Japan, Ryo often performs and presents music of Japanese composers. He recently performed the U.S. premiere of Japanese Suite for Strings by Akira Ifukube with the Peabody Orchestra. To promote the accessibility and diversity with music and art in his home country of Japan, Ryo founded the nonprofit, Mudita, an art and music education advocacy organization. Under his innovative approach to increasing the art and music population in Japan, the organization is growing nationally and internationally.

Guest Artists Pamornpan Komolpamorn First Prize Winner in the 2018 American Prize Conducting Competition, Prize Winner and Career Encouragement Citation of The 2019 American Prize in Conducting, and National Award Finalists of the 2019 American Prize Ernst Bacon Memorial Award for the Performance of American Music. Pamornpan Komolpamorn has appointed as a resident conductor of Thailand Philharmonic Orchestra since 2020. She also serves as a Director of Orchestras and Instructor of Conducting at Mahidol University’s College of Music in Thailand. Pamornpan is also the Founder and Music Director of Amass Chamber Ensemble and is committed to performing diverse music of various composers and periods, from early to contemporary music. Pamornpan’s repertoire is wide-ranging, and encompasses orchestral, wind, operatic, chamber, early music and contemporary genres. She has conducted wind bands, orchestras and chamber ensembles across the world, such as in Italy, the Czech Republic, Singapore, Malaysia, Hong Kong, Macau, Thailand, and the United States [New York, Georgia, Illinois, Texas, Maryland]. Pamornpan has appeared as a guest conductor for ensembles, such as the Nuova Orchestra AdM in Udine, Italy (to commemorate the 91st anniversary of the world premiere of the opera ‘Il Tramonto’ by Ottorino Respighi), Illinois State University, Dallas Winds, Thailand International Composition Festival, Thailand New Music and Arts Symposium Ensemble (TACETi Ensemble), the Yala City Municipality Youth Orchestra, Dr. Sax Chamber Orchestra, Unity Symphony Orchestra, Dallas Winds, Pesante String Chamber, Bangkok Silpakorn Wind Orchestra (she was appointed as a residence conductor), Bangkok Youth Wind Orchestra, and Thailand Philharmonic Pop Orchestra, Project Unity Orchestra. She has conducted such widely-acclaimed soloists, such as Steven Mead, Steve Rosse, Paul Luxenberg, and Misa Mead.

Art Exhibition Giulia Regini Born in Alessandria in 1988. In 2021 Giulia Regini obtained a Bachelor Degree in Electronic Music. She attended several electronic music workshops and masterclasses, including those taught by professor John Chowning in 2013 and Lelio Giannetto in 2015. Her artistic career includes audiovisual works, acousmatic pieces and commercials. Currently, she is achieving a Master Degree in Electronic Music. “NeOnSound”

is an audiovisual composition inspired by Dan Flavin’s light installations. This work comes from my personal interest about the relationship between sound and color. The video and audio processing are based on the thought expressed by this minimalist artist in reference to his works: It is what it is and it ain’t nothing else. The goal is to convey the emotions that the works communicate to the observer who moves through the rooms of an exhibition. NeOnSound wants to communicate the emotionality of the experience: which goes to the viewer who stands in front of the artwork and who suffers its direct fascination, without conditioning. Dan Flavin’s installations are the starting point for the inspiration and the protagonists of the video.

Esther Chi Ching Wu Esther Chi Ching Wu is a Hong Kong composer and sound artist. Her works included film scoring, instrumental writings, electro-acoustic, fixed media, plunderphonics, sound installation, and cross-media (videos, scenography, interactive media). She aims to further explore her compositional crafts and speak through the versatility of different media and its boundaries. Recently, she obtained a Master’s degree in Composition from the Royal Conservatoire of The Hague where she studied with Guus Janssen and Yannis Kyriakides. She holds a Bachelor’s degree (First Class Honor) in Composition and Electronic music from the Hong Kong Academy for Performing Arts where she studied with Dr. Cheung Pui Shan. “Static Ferment II”

The focus of Static Ferment II is to explore the perception of time with the correlation and boundaries of stasis and ferment. It is an attempt to utilize the differences between visual and sound movement, the polarised register and sonority to affect our temporal perception. 15

Julius Bucsis Julius Bucsis is an award-winning composer, electric guitarist, and visual artist. His compositions span a range of genres and include works for acoustic and electric instruments as well as computer generated audio and video. Since 2011 his works have been presented at almost 200 events across the world. His compositions have been included on CDs released by Ablaze, PARMA, RMN Classical, and Soundiff. He received a Doctor of Arts degree from Ball State University. “Transformations”

was inspired by reflections on some of the changes we experience in our perceptions about how our lives unfold. The three sections in successive order are titled, The Anticipation, The Exuberance, and The Nostalgia. Each movement is based upon a different musical genre, integrating elements from spectralism, New Complexity, and neo-romanticism respectively. Each movement also makes use of techniques from varying compositional approaches, incorporating practices associated with sonification, soundscape recording, and live performance respectively. Audio software included Pro Tools, Ableton Live, Reason, and many plug-ins. Video software included Final Cut Pro X, Motion, Painter, Ultra Fractal, and Jitter.

Kenji Kojima Kenji Kojima has been experimenting with the relationships between perception and cognition, technology, music, and visual art since the early ’90s. He was born in Japan and moved to New York in 1980. He painted contemporary egg tempera paintings which medieval art materials and techniques for the first 10 years in New York. A personal computer was improved rapidly during the ‘80s. He felt more comfortable with computer art than paintings. He switched His artwork to digital in the early ‘90s. His early digital works were archived in the New Museum - Rhizome, New York. He developed the computer software “RGB MusicLab” in 2007 and created interdisciplinary works exploring the relationship between images and music. His digital art series is exhibited in New York, media art festivals worldwide, including Europe, Brazil, Asia, and the online exhibitions by ACM SIGGRAPH and FILE Festival, etc. Visual artist and LiveCode programmer.

Art Exhibition

Jacob Elkin Jacob Elkin is a musician, composer and educator based in NYC. Through the integration of space, noise and microtonality, his compositions seek an abstract expression of contemporary concerns. His work has been heard around the world including recent performances in Moscow, London and Bucharest. Mr. Elkin has been written about in many publications including Broadway World, OperaWire, New Music USA, I Care if you Listen and Avant Music News. His music is available on WAW and Ablaze records. Mr. Elkin is on faculty as brass instructor at the United Nations International School. “Pain and Sorrow”

The music for this work was composed using only digital feedback built in the audio coding software, Supercollider, to reflect my feelings on the pain and loss during a year of quarantine. Its harsh and glitchy nature reflects emotions of rage and anguish while also imitating the sounds of constant sirens heard in NYC at the beginning of the pandemic. The audio concept of heart monitors is another theme connecting with the horrors and heroism of the overrun healthcare system at that time. The visuals, created by Robert Morton, engage with themes of trans-humanism, dadaism and realism. “Give me your pain and sorrow” was premiered as part of Unfix Festival NYC in June 2021.

“ Smile”

The music was composed of the color data of Leonardo da Vinci’s painting. The algorithm collected the 5 locations’ binary data every 3 seconds randomly. The binary was converted into musical notes and played by midi piano. The composition process is in the artwork video. The project pursues the fusion and compatibility of hearing and vision through technology and art. The image and the music use binary as an art material. They have no boundaries between them. This art and technology project tries to recognize the surrounding environment of different senses by the same art material that is binary.

TNMAS Monday 13th December 2021

at Bangkok Art and Culture Centre

PROGRAM Virtual Soloists: Call for Performers Concert Sylvain Monchocé

Drawing/Drowning

Sylvain Monchocé, Flute Nattakon Lertwattanaruk

CLOCKWORK for Flute

Sylvain Monchocé, Flute Nawamongkol Nawachaisupasri

Mai Pai for Flute

Jaume Darbra, Flute Tanaphan Polrob

Caprice “Journey of a Black Cat”for Violin Lena Vidulich, Violin

Thanaphon Srinuan

GRAY for Flute

Sylvain Monchocé, Flute Nattakit Lojabapiwat

Distractions for Violin Solo

Lena Vidulich, Violin Thanakrit Amornwetsanti

Fragments from Morlam (E1X9P4) for Flute

Jaume Darbra, Flute Reiko Fueting Lena Vidulich, Violin

tanz.tanz

Winning Performers Jaume Darbra Fa Jaume Darbra Fa is a multidisciplinary & independent artist, working at the juncture of sound & visual. He combines visual art, music composition and physical approach of sound art by performing in advanced programmed installations and audio/visual live compositions. As a freelance flutist and electroacoustic performer, Jaume is active internationally in the field of contemporary music, sound art and visual arts. Engagements have taken him to all over Europe and Asia, performing in the most important venues, festivals and institutions such as, WienModern, November Music, Snape Maltings, IRCAM, STEIM, Musikfest Berlin, Festival ManiFeste, Lucerne Festival, Huddersfield Contemporary Music Festival, Gaudeamus Muziekweek, Festival Mixtur. Dedicated to contemporary music, he has work closely with composers such as Sofia Gubaidulina, Rebecca Saunders, Unsuk Chin, Missy Mazzoli, and Kaija Saariaho, and performs regularly with several contemporary music ensembles, Ensemble Modern, Ensemble Intercontemporain, Lucerne Festival Contemporary Orchestra, Ensemble Musikfabrik, Lucerne Festival ALUMNI.

Sylvain Monchocé Sylvain Monchocé is a multi-instrumentalist playing the flute, the bass flute, the contrabass flute, the saxophones, the daegeum and the gayageum. He studied the flute at the Mons conservatory in Belgium in the class of Marc Grauwels and specialized in contemporary music with Helen Bledsoe, Mike Schmid and Wil Offermans. He studied free improvisation at the Musik Akademie Basel, with Alfred Zimmerlin, Andrea Neumann and Fred Frith, and will be studying contemporary music in Belgium with the Ictus Ensemble. Interested also in dance and movement, he studies dance improvisation with Han Yeonji, butoh with Susanne Daeppen and followed masterclasses with Harald Kimmig and Atsushi Takenouchi. He also holds an engineering degree, a master and a PhD in Physics. 20

Lena Vidulich Lena Vidulich is a Thai-American violinist and violist based in New York City. An adventurous and versatile performer, she is able to move fluidly between many musical worlds and genres. Lena is a committed advocate for new music and has worked with composers including Nina Young, Reiko Füting, and Katherine Balch. Lena is the violist of earspace, a Raleigh-based ensemble creating multi-sensory performances; co-artistic director of Amalgama, a septet dedicated to the synthesis of improvisation and contemporary music; and violist of Quartet121. Lena holds a Bachelor of Music in violin performance from Northwestern University. Her education also included studies at the Conservatoire national supérieur de musique de Paris and Université de Paris 8. Lena recently received her master’s degree in contemporary violin performance at the Manhattan School of Music. She is also a teacher of the Alexander Technique (m.AmSAT).

Young Thai Composers Nattakon Lertwattanaruk Nattakon Lertwattanaruk is a Thai composer, violinist, and pianist. Currently fifteen, he began composing at the age of thirteen and started playing the violin and piano at the age of eight. He first studied composition with Pinchanan Jaiprasong at Music Campus for General Public, College of Music, Mahidol University; passing grade 8 ABRSM music theory with merit. He has participated in masterclasses with Dr. Narong Prangcharoen. Currently, he is studying music composition with Piyawat Louilarpprasert. He is still studying in secondary school at Regent’s International School Bangkok under a music scholarship. As a violinist, he has been performing with the Thai Youth Orchestra since the 2020 season.

Nawamongkol Nawachaisupasri Nawamongkol Nawachaisupasrihas started learning Euphonium since 2008 at Assumption College Thonburi and continued his high school education at Triamudom Suksa School after receiving a scholarship to study at Silpakorn University to study Euphonium with Jirapat Praeprasert and became interested in composing music in 2019, studying composition with Ek-karach Charoennit currently studying for a master’s degree at the Princess Galyani Vadhana Institute of Music and had joined the arrangement master class with Yasuhide Ito.

Nattakit Lojanapiwat Nattakit Lojanapiwat is currently studying in high school. He is a student from English major who has an interest in music and composition. He is also a violinist whose goal is to pursue a music career.

Tanaphan Polrob Tanaphan Polrob started learning piano at the age of 3 but quit after only 3 months. It wasn’t until he was 13 years old that he starting to learn piano again. Later, he was also interested in other musical performance instruments such as classical singing, as well as music theory and music composition. In 2018, he continued his study as a classical piano major at YAMP-Young Artist Music Program, Pre-College, College of Music, Mahidol University with Junta Arakawa. He also minored in composition with Bordin Rattanasiri and a private composition class with Chudalux Pinan and Valeriy Rizayev, in classical voice with Korawit Sittisakornsilp and a private voice class with Nancy Tsui-Ping Wei. Until 2021, he continued his study as a music composition major at College of Music, Mahidol University with Valeriy Rizayev.

Thanaphon Srinuan Thanaphon Srinuan is a young Thai composer whose music focuses on the use of pitchsets and chromaticism. He started playing both saxophone and clarinet at the very young age until the end of secondary education. Currently, he is a composition student at the Udon Thani Rajabhat University.

Thanakrit Amornwetsunti Thanakrit Amornwetsunti began formal musical training at the age of 13. He was a saxophonist in the Saraburiwitthayakhom School marching band from 2014 to 2016. In 2017, Thanakrit began studies at the Young Artist Music Program of the College of Music, Mahidol University in classical piano performance and composition. In 2019, he received a merit scholarship from the Young Artist Music Program of College of Music, Mahidol University. He is currently a second-year composition student at the College of Music, Mahidol University under the instruction of Dr. Jason Thorpe Buchanan. His creative interests include surrealism and Fluxus, as well as the study of human behavior, theatre, distraction, and experimental performance practice. As a performer, he has given many concerts as solo, chamber, and orchestra, and his compositions have been premiered and performed numerous times by the student chamber ensembles as well as the [Switch~ Ensemble]. 23

TNMAS Thursday 16th December 2021

at Bangkok Art and Culture Centre

SCHEDULE Thursday 16th of December 2021 13.00 - 14.30

International Composition Institute of Thailand: Final Concert

Akari Komura Deep beneath the feet for soprano (alto) saxophone, tenor trombone, tuba, guitar and percussion Lin Ying-Ting ...And Liszt Moaned Samsara for ensemble and electronics Oswald Huỳnh Frequent Wind for trio and amplified music box Jeremy Rosenstock trumpet -> ear -> drum for trombone, tuba and percussion Toh Yan Ee H X B X T X T for amplified Ensemble John Franek KATADROSERA for mixed chamber ensemble Tze Yeung Ho luft. õhk. ilma. three tableaux for wind quartet and clown Konstantinos Baras eRooR/Occuurd for baritone saxophone, trombone, tuba, percussion, electric guitar, keyboard Wenbin Lyu TURBULENT MIND for mixed sextet 15.00 - 15.30

International Composition Institute of Thailand: Award Ceremony

15.30 - 16.30

Japanese Music Workshop by Thomas Piercy

17.00 - 18.00

Thai Instrument “Khaen” Music Workshop by Christopher Adler

20.00 - 21.30

Discussion 1: Multidisciplinary vs Interdisciplinary

Moderator: Noppakorn Auesirinucroch Panelists: Jung-Jae Kim Syed Hasan Abbas Luo Ting Charles Michel

International Composition Institute of Thailand

Akari Komura Akari Komura is a Japanese composer-vocalist. She grew up in Tokyo until she was twelve, then moved abroad due to her parent’s work to spend her teenage-hood in Indonesia. This transition impacted her to develop a deeper connection to music and to communicate with others regardless of the language barrier. From an early age, Akari has been involved in performing arts through playing the piano, singing, and dancing modern ballet. Her interest in nature-based contemplative practices is central to her artistic belief where the sonic expressions are imagined to emerge as an embodiment of natural elements. Under the influence of Pauline Oliveros, Yoko Ono, and Hildegard Westerkamp, Akari explores to curate a ritualistic performance that invites both musicians and audience for a meditative and healing experience of mind and body. Akari’s breadth of work spans chamber ensemble, multimedia/ electronics, vocal music, and interdisciplinary collaborative works involving dancers, visual artists, and architects. Some of her works have been featured in the Montreal Contemporary Music Lab, Composers Conference, Atlantic Music Festival, soundSCAPE, and Penn State New Music Festival. She also has been an artist-in-resident for the Socially Distant Art program and Kinds of Kings Bouman Fellow 2020-21.She holds a M.M. in Composition from the University of Michigan (recipient of the EXCEL Enterprise Fund and Sonic Scenographies Research Grant) and a B.A. in Vocal Arts from the University of California, Irvine. Her major teachers include Evan Chambers, Roshanne Etezady, Stephen Rush, Frances Bennett, and Seth Houston.

Deep beneath the feet

for soprano (alto) saxophone, tenor trombone, tuba, guitar and percussion The piece emerged from an acoustic interest in the rhythm of footsteps during a walk. Whether

it’s walking, running, or wandering around, the act of traveling on foot is a sound-making experience. Each time our foot comes in contact with the earth, we are vibrating the planetary surface on a microscopic level. The work imagines our footsteps echoing deep down below us, listening to the earth resonate, and journeying through the spherical layers: the soil, the mantle, and the inner core. As you experience the piece, I invite you to draw attention to the soles of your feet. Imagine you have roots growing down into the earth, and they keep expanding down through the plant’s core. Let the sound enter through your feet and inhabit your entire body.

ICIT Composers Lin Ying-Ting Lin Ying-Ting is a Taiwanese composer who explores unique timbre qualities of both acoustic and electronic music. From an impressive variety of ideological realms ranging from the sociological to the principles of aesthetics, Ying-Ting’s creations are inspired through her translation of keen empirical observation into ingenious musical realization; the resulting work stimulates deep introspection and provoking curiosities. Active as a composer and pianist, Lin’s music has been awarded several honors and awards, including the Studying Abroad Fellowship from the Ministry of Education in Taiwan, the IAWM Pauline Oliveros Prize, the National Symphony Orchestra of Taiwan competition, the Taiwan National Ministry of Education Composition Award, and the Chai Found Chinese Musical Instruments Competition. Her music has also been played at several international festivals in USA and Asia, including the 18th World Saxophone Congress, 2018 ICMC, Darmstadt, World Harp Congress, Ecoles d’Art Américaines de Fontainebleau, NYCEMF, the June in Buffalo festival, Hong Kong Modern Academy, Taipei International New Music Festival, and New Music Week of Shanghai Conservatory of Music. After graduating from the National Taiwan Normal University, she furthered her studies at the State University of New York at Buffalo, where she worked with Cort Lippe and Jeffrey Stadelman. She is currently in pursuit of a PhD at Brandeis University, studying with Eric Chasalow.

...And Liszt Moaned Samsara

for ensemble and electronics

This work is my first attempt at writing music in a “theatrical” way. In recent years, through interdisciplinary collaborations, I have interacted with artists from a wide variety of performing arts fields. I have taken special notice of how they approach “structure” differently. These observations have inspired me towards new explorations in my own music composition. This work is like a movie, showing scenes. One scene follows the next. Inspired by Liszt’s saying: “Life is only a long and bitter suicide, and faith alone can transform this suicide into a sacrifice,” I aimed to reflect Liszt’s life musically by showing a contrast between his youth and old age. From a concert star to a priest, aside even from his position in the history of music or autobiographical evaluations, Liszt is a complex case full of contradictions. For example, even in his late life, while still having affairs with women, he became a priest. He was always looking for something more profound and serious to solve the dilemma of humanity. This piece starts with old Liszt’s moaning sigh and navigates varying degrees of anger or regret. After the middle outburst, a pleasant piano solo piece was inserted, representing his memory of youth, but sarcastically. My interpretation of his early life is like an illusion and even more like a waste, and only faith is concrete. In the end, the music transforms his suicide into transcendence.

ICIT Composers Oswald Huỳnh Oswald Huỳnh is a composer and bassoonist from Portland, Oregon. Huỳnh’s compositions often blend traditional Vietnamese aesthetics with Western techniques to compose music that reflects his multicultural upbringing. Huỳnh writes extensively for instrumental forces to create evocative soundscapes that convey the underlying emotions and inspirations in the music. His works center around Vietnamese tradition, heritage and identity, and the natural world. As a composer, his works have been commissioned and performed by artists such as the Del Sol String Quartet, [Switch~ Ensemble], Deaf Rabbit Duo, Akropolis Reed Quintet, and composer and clarinetist Yoshiaki Onishi. Upcoming projects include a chamber work for Fear No Music and a collaboration with the St. Louis Symphony Orchestra. His music has been presented at Arts Letters & Numbers, Oregon Bach Festival Composers Symposium, Northwestern University New Music Conference, The Sheldon, University of Missouri, Lewis & Clark College, Ithaca College, Wintergreen Music Festival, Mostly Modern Festival, and the Atlantic Music Festival. Huỳnh holds a Bachelor of Arts in music and computer science from Lewis & Clark College and is pursuing a Master of Music in Composition at the University of Missouri. www.oswaldhuynh.com

Frequent Wind

for trio and amplified music box On April 29th, 1975, Irving Berlin’s “White Christmas” is played over the Armed Forces Radio, signaling the start of Operation Frequent Wind- the final phase pf the evacuation of American civilians and Vietnamese regugees by helicopter. The event would be the catalyst for the mass exodus from Vietnam by the Vietnamese boat people. The evacuation was completed the following day on April 30th. In Vietnam, this is known as Reunification Day; to many overseas Vietnamese, this day is referred to as Black April. Inspired by poet Ocean Vuong’s “Aubade with Burning City”, which interweaves the lyrics of “White Christmas” with a scene describing the Fall of Saigon, I composed Frequent Wind in two distinct sections. The first part is meant to create an air of anxiety and restleness as thousands upon thousands of people anticipated the collapse of the South Vietnamese goverment. The second section features a music box playing “White Christmas” as the trio slowly dissolves into chaos and overpowers the song.

Toh Yan Ee Toh Yan Ee is a young Singaporean composer pursuing her Bachelor’s Degree in Music Composition at the Yong Siew Toh Conservatory of Music (YST), National University of Singapore, under the tutelage of Ho Chee Kong and Adeline Wong. Yan Ee is interested in exploring nature and dichotomies, and her music fuses spontaneity and organic elements. Yan Ee’s works have been performed by TACET(i) Ensemble, Wu Xian Ensemble, and Singapore Chinese Orchestra. Her works have been performed in Singapore, Thailand and the USA. Yan Ee has participated and presented in various festivals in Singapore and abroad, such as <reMusik.org> St. Petersburg International New Music Festival Composition Course (Russia), New Music on the Bayou Festival (USA), International Composition Institute of Thailand (Thailand), Singapore Chinese Orchestra Composer Workshop (Singapore), YST Young Composers’ Academy (Singapore), 28

Jeremy Rosenstock Jeremy Rosenstock is a composer, sound artist, and pianist from San Francisco, California. As a composer, Jeremy has taken lessons with Dan Trueman, Sarah Kirkland Snyder, Andrea Mazzariello, Gabriela Lena Frank, David Conte, and Benjamin Boyle. He has participated in So Percussion Summer Institute, where his percussion quartet was read and recorded by So Percussion, Cortona Sessions for New Music, Stanford University’s CCRMA Summer Workshops, and the European-American Musical Alliance’s Nadia Boulanger Institute. He is a member of Intermission, an interdisciplinary arts collective based in Nashville, TN, and has put on electroacoustic installations as part of their arts retreat, Wysteria. His principle teachers and mentors include Wolfgang Von Schweinitz, Stan Link, Michael Slayton, Michael Alec Rose, Craig Nies, and Gabriela Lena Frank. He is currently working towards obtaining an MFA in Experimental Sound Practices and CalArts starting in the fall of 2019.

trumpet -> ear -> drum

for trombone, tuba and percussion

This piece takes its name and inspiration from the “ear trumpet,” an early form of hearing aid shaped like its namesake instrument. These devices have been created for centuries using a variety of materials, ranging from metal and wood to seashells and animal horns. In this context, the ear trumpet (and corresponding ear) is dispered amongst the ensemble. Where the trombone and tuba carry obvious similarities to the trumpet, percussion represents the ear with abalone shells; not only were shells used as early ear trumpets, but abalones are commonly called “sea ears.” Lastly, a snare drum (played using abalones) signifies the ear’s interior. The drum collects and amplifies the sounds of the shells, much like sound waves accumulate at the ear drum for cerebral and emotional comprehension. Through this consideration of the ear, this piece explores the relationship between natural objects and acoustics. While seashells and the overtone series may have perfect, abstract forms, these platonic ideals only exist in the mind of the spectator. In reality, these forms are continuously disturbed and distorted by any number of interactions with nature and humanity. By studying the differences between the real and imagined, we may progress away from idealist abstractions towards a more honest relationship with the material world.

and Composers Society of Singapore Young Composers Forum (Singapore). Besides composing, Yan Ee is a pianist and chorister, and often arranges for choral and acapella groups. She is also interested in arts management, and is keen to explore curation and marketing of projects in the arts.

HXBXTXT

for amplified ensemble HXBXTXT is a response to the longstanding issue of deforestation, and its widespread impact on our environment. The piece is a reimagination of various sounds of nature, such as the rustling of leaves, flowing of rivers and calls of birds native to urban Singapore. HXBXTXT aims to take the listener through moments of mystery, excitement, to moments of quietude and eventually, destruction. 29

ICIT Composers Tze Yeung Ho Tze Yeung Ho (b. 1992) is a Norwegian composer based in Helsinki. Tze Yeung’s music is found at the crossroads of understanding: his works explore territories of speech, translation in language, dramaturgy and poetics, with particular focus on multilingual approaches.Tze Yeung holds a doctoral degree (PhD) from the Estonian Academy of Music and Theatre and a master’s degree from the Norwegian Academy of Music. He has held lectures and talks at the Estonian Arts Academy, SOUND 59 festival in Russia and the highSCORE festival in Italy. He is the first prize recipient of the 14th composition competition of Festival International de Musiques Sacrées (CH), Evivakören’s and Exaudio’s choral composition competition (FI) and Land’s End Ensemble’s 17th composition competition (CA). His collaboration with Gabrielsen, hvorfor pusen? received the second prize of Shanghai New Music Week’s Chamber Opera Composition Competition. Some other highlighted artistic activities include lecturing at Sound 59 festival in Russia, the development of Gjennom Garden (a theatre work for Sølvguttene boys’ choir and Norwegian dramaturge Marius Kolbenstvedt) and production of the opera minn(i)e with the Estonian studio Opera Veto, Finnish stage director Anselmi Hirvonen and Danish video artist Magnus Pind.

luft. õhk. ilma. three tableaux for wind quartet and clown

The three short tableaux are written for wind quartet and a balloonist. The work is based on the phonemic make-up of the three words in Norwegian, Estonian and Finnish meaning air, each occupying a ‘movement’. The instrumentalists are to perform the musical portion of the work as mechanically as possible. The focus should remain on the clown-balloonist throughout the performance. Have fun with it.

Konstantinos Baras Konstantinos Baras is a Greek composer of instrumental and electroacoustic music. His music focuses on the recreation of saturated soundscapes through the use of aggressive gestures, instrumental preparation, and extended techniques. He is deeply interested in exploring various tools of Digital Signal Processing (DSP) and live interactivity to further extend the acoustic profile of traditional instruments. This allows Baras to create electroacoustic hybrids, enabling him to blend seemingly juxtaposing sounds into a unified sonic structure. Baras organizes his compositions through various processes of iteration and fragmented circularity - manipulating the duration, density, and complexity of musical layering in order to shape heterogeneous sound blocks into unified phrasal structures.

John Franek “he brought his talents to the keyboard in his own...inspired high-energy blend” - The Philadelphia Inquirer John Franek (b.1996) is a pianist and composer whose compositions “evoke an epic narrative.” (Sonograma Magazine). John has had premieres of his own works performed in North America, South America, Europe and Asia, with notable premieres in locations such as in New York City, Philadelphia, Los Angeles, Vienna, London, Amsterdam, Paris, Lviv, Ostrava, Olomouç, Milan and Rome. Among these performances he has had his works performed by ensembles such as the Janáček Philharmonic Orchestra, The Moravian Philharmonic, KLKNewMusic, The Syntax Ensemble, the Brightwork Ensemble, the Lontano Ensemble and Trio Immersio. Forthcoming premieres throughout this season include performances by the Sofia Philharmonic Orchestra, Hub New Music, Unassited Fold and the TACETi ensemble. John is the Founder and Artistic Director of his own record label Nous Records, is a Navona Records Recording Artist and maintains and active role as an educator and masterclass artist. John’s works are published by Donemus Publishing.

KATADROSERA

for mixed chamber ensemble

I found the harmonic and affective inspirations for KATADROSERA through the coalescene of interests in unfamiliar and peculiar orgranism of both fiction and non-fiction. Much as the plant Genus Drosera and the organisms which inhabit Stephen King’s The Mist, each and every gesture found within KATADROSERA acts as part of a larger organism both harmonically and formulaically, congealing into a single undulating, curdling sound world inspired by peculiar beings both of, and alien to, our planet.

eRooR/Occuurd

for baritone saxophone, trombone, tuba, percussion, electric guitar, keyboard

eRooR/Occuurd deals with the themes of mistake, disruption, looping and distortion of music ideas. It’s main concept revolves around the notion of collage and window form, where each block of sound gets abruptly interrupted by another block.

ICIT Composers Wenbin Lyu Wenbin Lyu (b. 1994) is an award-winning US-based Chinese composer and guitarist. The composition written by Wenbin Lyu combines contemporary western techniques with ancient oriental culture. He seeks inspiration from nature, science, and video games. Lyu’s music has been performed at many events, including Tanglewood, International Computer Music Conference, New York City Electroacoustic Music Festival, National Student Electronic Music Event, Collage Composers Colloquium, Arts Letters & Numbers, 1:2:1, NCPA Young Composer Programme, China National Symphony Orchestra Young Composer Program, Chinese National Music Festival, among others. His music has been performed by Beijing Symphony Orchestra, Tianjin Symphony Orchestra, NEC Philharmonia, CCM Concert Orchestra, Del Sol Quartet, Tacet(i), and Transient Canvas. Based on his outstanding academic performance, he was honored to receive the China National Scholarship in 2016 and Donald Martino Award for Excellence in Composition in 2020. His music was performed widely worldwide, including in Asia, Europe, North and South America. Lyu’s compositions include orchestra, concerto, chamber, opera, and electronic music. In 2021, he was invited to Tanglewood Music Center as a composition fellow. Lyu is the recipient of ASCAP Morton Gould Young Composer Awards, CCM Orchestral Composition Commission Competition, NEC Honor Competition; Two VR movies that he composed premiered at the Cannes International Film Festival in 2016. Lyu serves as a composer-in-residence at HAcappella where based at Harvard University and the all-female musician group New Downbeat in Cincinnati. Lyu received his degrees from China Conservatory and NEC, where he studied with Wanchun Shi, Michael Gandolfi, and Kati Agócs. Lyu is currently pursuing a Doctorate in CCM, where he studies with Mara Helmuth and Douglas Knehans. His compositions were published by NYXmusic (ASCAP).

TURBULENT MIND for mixed sextet

Turbulent Mind was written in the Fall of 2021. It is a 2-movement suite for mixed sextet. Each movement in this suite is short, ranging from one minute to two minutes in length. This piece directly reects all my emotions during the Covid-19. Even under this situation, a monotonous lifestyle still cannot obstruct my turbulent mind. And this is the spirit of the piece.

TNMAS Friday 17th December 2021

at Bangkok Art and Culture Centre

SCHEDULE Friday 17th of December 2021 10.00 – 12.00

Registration / Exhibition

10.00 - 11.00 Project Performance 1: New Arts Collaboration Luo Ting New Arts Collaboration 11.00 - 12.00 Project Performance 2: Absolute Oblivion Peter Hager A Seasonal Rain for solo Khaen (Winning Work from Call for Khaen Music) Jung-Jae Kim & Absolute Oblivion: Visual Storytelling and Musical Experience Syed Hasan Abbas 12.00 - 13.30 Discussion 2: Sound, Art and Media Moderator: Thanapat Ogaslert Panelists: Jason Thorpe Buchanan Kittiphan Janbuala Nattapol Rojjanarattanangkool 14.00 - 15.30 TNMAS Performance 1: Tradition and Distortion Joji Yuasa Solitude for Clarinet Kittiphan Janbuala With The Bee Gees for amplified guitar and amplified bass clarinet with overdrives and reverbs Thanakarn Schofield Ideo – Intact for flute, bass clarinet, violin & viola Waris Sukontapatipark Rippling Origin for tuba and interactive electronics Piyawat Louilarpprasert Daeng for three electric guitars Masatora Goya ONOKORO Concerto for hichiriki and strings 16.00 - 17.00 Paper Presentation 1: Numeral and Symbolic representation when coding in Estuary: Browser-based Collaborative Live Coding Presentation by Anders Flodin 17.00 - 19.00 Project Performance 3: Hybridity and Reality Evan Tedlock Psithaura Timothy Blunk Fire 1000 Poems! A Fluxus Happening in Hybrid Space Hybrid Culture is Not Just Possible - It is Essential Hooting Cow Collective Hybrid Stories: Sonic Journeys of Global Collaboration

Project Performance 1

New Arts Collaboration: Featured Artist Ting Luo Ting Luo, pianist, has performed and lectured in prestigious venues in China and U.S., advocating contemporary music. Ting Luo is active on collaborating with other artists from multiple disciplines including conductors, composers, and singer in various occasions such as in chamber music concert, ensemble performance and so on. Ting Luo has won many international piano competitions such as the United States International Music Competition. She has curated the interdisciplinary music and visual art project New Arts Collaboration since 2020.

New Arts Collaboration New Arts Collaboration is an interdisciplinary art project for sound and multimedia. NAC connects with artists from multi-disciplined fields, forming a strong bond for artists to collaborate with each other, including living composers, sound artists, visual artists and so on. In our vision, sound as a human expression could be formed and interacted freely and experimentally with other mediums including electronics, tape, visuals, music, etc. With the mission, NAC collaborates with artists to create series of interdisciplinary artworks for showcases, concerts, and exhibitions. NAC is curated by pianist Ting Luo in 2020, highlighting the project’s on-going premiere for piano and multimedia/extended piano technique. NAC serves as a vessel for artists to be collaborative, be open-minded, and be creative through the partnership. Works by NAC have been selected and featured in CAPMT-MTNA Artists Panel Webinar, The San Luis Obispo Museum of Art’s Digital Shorts Film Festival, Fresh Inc Festival, New Music Gathering Conference/Festival and will be presented in Old First Concert Series, The Center of New Music and Thailand New Music and Arts Symposium from September to December 2021. *New Arts Collaboration is a fiscally-sponsored affiliate of InterMusic SF, a not-for-profit organization dedicated to small ensemble music in the San Francisco Bay Area. Six Threads by Danny Clay Six Threads consists of six one-minute interdisciplinary bagatelles that explore several possible relationships between live musician, pre-recorded sound, spoken and printed text, projected visuals, and - of course - the piano. Around by Julie Barwick Composition: Around is about the small things that surround us yet go mostly unnoticed. The piece was particularly inspired by the everyday sounds that I hear at home. Having to stay indoors far beyond normal due to the COVID-19 pandemic in addition to terrible California heatwaves and wildfires caused me to ponder and appreciate these small sounds and experiences in a new way. The piano part is based off a swirling and wide-reaching line that permeates the entire piece, even as the mood oscillates between feelings of calm and agitation. The audio playback is a mixture of recordings made from within my home, and other artificially created sounds. 36

The Corner by Nicki Davis The Corner - it was created as a collaboration with composer Julie Barwick’s sound piece Around. The pandemic brought many into their homes for extended periods of time, cornering each of us inside the same space day after day. External and internal spaces began to blend, allowing the mind to sink into the place where dreams, memories, and fragments of our previous selves were waiting to be unearthed and brought into the light. FOOTSTEPS by Jean Ahn and Jo Ho FOOTSTEPS is a collection of short pieces that explores the idea of traveling through the pianist’s hand. Visual artist Jo Ho used pianist Ting Luo’s hand as a starting point of the visual expression. The first three pieces have a straight forward title, exploring specific surfaces. In “Crossroad” the traveler feels lost and helpless. The final movement “Mars” is an open movement, suggesting the endless footsteps we can make through our imagination. Hypothesis by Ting Luo and Loraine Wible Hypothesis refers to a proposed musical explanation for a phenomenon. Each piece projects an ongoing present, expressing moments with a particular shape and form, such as the simplicity and continuity in Purified, the concrete environment of sound in Breath, and the collapse and deconstruction in Shudder. Visual: As a video maker Loraine Wible searches for worlds that have never existed before. Inspired by classical paintings, she considers the screen a portal towards allegorical places where architecture and natural landscapes form surreal narratives. She also often uses her own dreams as well, recreating them with the video or animation media, allowing for the screen to be an extension of her subconscious and its mysteries.

Peter Hager Peter Hager (1998) is from Manila, Philippines, with an undergraduate studies degree in Music (Honors) and English at Colgate University. Growing up with a devoted passion for music, he independently sought out more and more esoteric and eclectic varieties of music from the past, from serialism and post-modernism to rock and jazz fusion, reaching into this deep well of appreciation for inspiration to pursue a degree and eventual career in music. He has played electric bass since the age of 16, and has studied the instrument with upstate New York double bassist/electric bassist Darryl Pugh while playing for the Colgate Jazz Band. He has sung with and led the Colgate Mantiphondrakes, a mixed a cappella group for whom he has arranged over a dozen songs, and has also studied composition with Dr. Ryan Chase for a wide variety of genres and styles including digital music and chamber works as well as music production. He is a recipient of Colgate University’s Lorey Family Senior Music Prize.

A Seasonal Rain for solo Khaen

There is nothing better than a good, hard rain to get in a pensive mood. I wrote this piece as a reflection and meditation on the dark, gloomy, and wet days during the rainy season here in the Philippines. The changes in tempo and rhythm mime the melancholic ruminations in those moments of clarity as well as the ebb and flow of the rain’s strength as it pours. At the same time, the constantly recurring motifs and clusters help convey a sense of permanence to these troubled emotions— but it’s important to remember that the rain, inevitably, does end. The piece was awarded as a winning piece of Call for Khaen Music, judged and performed by Prof. Christopher Adler. 37

Project Performance 2

Absolute Oblivion: Featured Artist

Absolute Oblivion Jung-Jae Kim and Syed Hasan Abbas Absolute Oblivion (AO) is an experimental performance duo in Bergen, Norway that creates live visual storytelling and musical experience. It was formed by Korean saxophonist/improviser Jung-Jae Kim and Pakistani animator/visual artist Syed Hasan Abbas in 2018. AO’s performance involves improvisations between sounds and visuals. One-half of the duo, Jung-Jae Kim, a musician works with various alternative sounds of saxophone and electronics. And the other half, Syed Hasan Abbas, a visual storyteller works with hand-drawn images and live video editing. We communicate with each other through our respective audio and visual creations based on our unique story, and consequently influence each other’s output throughout the performance. Since 2019, AO has been active in live performance and online streaming in Norway and Scandinavia including collaborations with other musicians and artists. Absolute Oblivion: Visual Storytelling and Musical Experience

Each AO performance offers a unique audio/visual result: an abstract/fragmented story, which is left open for interpretation to the spectators. AO’s experimental approach foregoes the mainstays of storytelling and music that are prevalent in the entertainment and culture industry in order to rediscover the deepest roots of storytelling and music embedded within the fabric of human society. Subsequently, AO duo assumes a role in front of their spectators similar to that of an ancient shaman singing and dancing in front of his/her tribe in order to inspire profound reflection. Henceforth, the name of project, Absolute Oblivion, refers to a process where one sheds their constructed realities in order to reach an unblemished vantage point, a state of knowing absolutely nothing, where one might bring forth a solemn reality. The title of the story by AO is Plague, which primarily explores corruption of “human spirit (soul)”, i.e. loss of innocence, which can happen during the pursuit of individual needs and societal expectations in a subjugating environment. In other words, Plague explores the realities of human experiences in relation to often challenging societal structures and imposing physical world. Consistently, Plague aims to add to the understanding of the complex nature of human existence by symbolically exploring the cycle of life in three stages: (i) elixir of life (birth and infancy), (ii) melody of joy (youth and adolescence), and (iii) chaos foreshadowing an everlasting silence (adulthood and death). The audio and visuals in AO’s performance of Plague are aimed to evoke spectators’ personal experiences and inspire profound reflection on what it means to retain “human spirit” in the journey of life.

TNMAS Performance 1: Tradition and Distortion

Joji Yuasa Joji Yuasa (August 12, 1929), one of Japan’s leading composers is a self-taught composer. He first became interested in music while a premedical student at Keio University, and in 1952 turned to music full time when he joined the Experimental Workshop in Tokyo. Since then, Yuasa has been actively engaged in a wide range of musical composition, including orchestral, choral and chamber music, music for theater, and intermedia, electronic and computer music. His works, including film and television scores, have won many prizes; among them the Jury’s Special Prize of Berlin Film Festival, Prix Italia, Otaka Prize, Grand Prizes at the Japan Arts Festival, Suntory Music Prize, and Imperial Prize. He has won numerous commissions for his compositions including commissions from the Serge Koussevitzky Music Foundation, Helsinki Philharmonic Orchestra, Japan Philharmonic Symphony Orchestra, NHK Symphony Orchestra, IRCAM and U.S.A. National Endowment for the Arts. SOLITUDE (1980) for clarinet

“Solitude” for solo clarinet, composed in 1980, is a memorial composition for one of Mr. Yuasa’s closest friends. Drawing the listener in from its very first haunting notes and holding an intensely varied sound world throughout the expressive and deeply emotional piece, Mr. Yuasa aims to take the primal, fundamental urge to create — “the interactions between man and the universe,” he wrote — and bring it forward into a futuristic language free of baggage from the past.

Kittiphan Janbuala An intermedia composer, presently, Kittiphan develops an aesthetic as an interdisciplinary artist specializing in audiovisual performance. In recent years, he has been active in collaborative wok. His working strategies in live sound and visual processing are based on the synthesis of textures and visual concrete effects through sonification procedures. Recognitions include the Finalist of Young Thai Artist Award 2004, 2006, 2008, 2011, the first prize in Asian Composer League Young Composer Competition 2012. He participated in events such as Echo Festival 2011, Sound Bridge 2013, Zoo Electronica 2014, Sonic Moon Festival 2015, SETTS#3, Hearing Visual, Looking Sound, Asia Computer Music Project 2018, Thailand New Music and Arts Symposium, KEAMS 2020, Symposium on Spatial Sound Arts, ICMC 2020/2021, and Hypersounds Event VIII. Kittiphan is currently a doctoral student studying composition under Sebastian Claren at the college of music, Seoul National University. With The Bee Gees (2021)

for amplified acoustic guitar and amplified bass clarinet with overdrives and reverbs In memory of the Bee Gees is an intention of the composer.The piece aims to employ the sound-possibilities of musical instruments through extended sound and electronic sound modification: overdrive and reverb. The based theme in the composition is derived from the “How Deep Is Your Love” from the Bee Gees, the great 60’s pop-rock band.

TNMAS Performance 1: Tradition and Distortion

Piyawat Louilarpprasert

[Refer to Program Curator Page]

Daeng (2021) for three electric guitars Daeng is a continuation of my previous work for three guitars, Ungezogenes Kind. Daeng creates sonic characters out of physical gestures and materials like plastic, rubber, metal, and human flesh. These physical materials are used by performers to scrape on the guitar in order to listen to the sound and create texture continuity among three people. As a result, three guitars communicate sonically through the magnitude of sound, the intensity of gestures, and the instruments. This piece is also dedicated to the legendary Thai artist “Daeng Guitar.”

Masatora Goya Described as a “composer of cultural crossroads” by American Composers Forum, Masatora Goya’s unique eclecticism has attracted many musicians performing in nontraditional chamber ensembles, such as Alturas Duo, Duo Anova, Bateira Trio, Liberté Mandolin Orchestra, Tomoko Sugawara, Lucina Yue, Hidejiro Honjoh, and Thomas Piercy. Masatora received a BA in Integrated Human Studies from Kyoto University and studied music at Koyo Conservatory. Since relocating to the United States, he earned a Master of Music from New Jersey City University and a Doctor of Musical Arts from Five Towns College, and studied in the BMI-Lehman Engel Musical Theatre Workshop. Masatora is a recipient of the grants from NYSCA and QCA, EtM Con Edison Composer Residencies, The Nam June Paik and Shigeko Kubota Video Art Award, American Composers Forum Jerome Fund for New Music, ASCAP Plus Award, and Diversity Doctoral Fellowship at SUNY Purchase College. https://www.masatoragoya.com/ ONOKORO (2021) Concerto for hichiriki and strings “ONOKORO” was composed for Thomas Piercy. The title “ONOKORO” derives from the Japanese creation myth. The name is thought to stand for the way a pair of deities stirred the ocean of life creating the islands of Japan. I spent most of 2020 contemplating this concerto during the pandemic and US political turmoil so that it must have absorbed the chaotic energy and uncertainty, and the dire need of hope and resurrection. It felt like a perfect parallel to the creation myth when trying to find a way to integrate a Japanese traditional instrument within a traditional Western context, a new birth of hichiriki.

Thanakarn Schofield Thanakarn Schofield’s works exploring the sonic behaviour of multiculturality and objects, contemporary and traditional practices, and geographical sonic elements from the Far East/Southeast Asia. His compositions have been performed in more than 10 countries and commissioned by different orchestras and ensembles including Avanti Orchestra, Residentie Orkest, Harmonieorkest De Phoenix, Orkest De Ereprijs, “But What About” Ensemble, Harp Sirens, Hezarfen Ensemble, Hong Kong New Music Ensemble, Klangforum Wien, Kluster 5 Ensemble, Mivos Quartet, Moscow Contemporary Music Ensemble, New European Ensemble, PinkNoise Ensemble, Spaceship Ensemble, Tacet(i) Ensemble, Ensemble x.y., Yokohama Contemporary Ensemble, and more. Schofield was awarded with the Princess Maha Chakri Sirindhorn Prize – grand prize of the Young Thai Artist Award 2017 and Orkest de Ereprijs – “St. Frank van der Wal Fonds” prize 2020 (Netherlands). Currently he is a PhD student at the Graduate Center, CUNY where he studies with Jason Eckardt. Ideo - Intact (2021) for flute, bass clarinet, violin and viola

The second piece of “Ideo” series dedicated to study the sonic behaviour that generated from different mechanical objects and traditional artifacts. The piece focuses on the sonic object which generates from hydraulic. The sound of hydraulic was recorded and transcribed with sonogram in order to extract its spectral/sonic structures. The extracted spectrums were translated and compressed into sonic materials which assigned specifically for each instruments to form a stream of distortion.

Waris Sukontapatipark Waris Sukontapatipark (b.1998) is a Thai composer and pianist. He entered the College of Music, Mahidol University in 2017, studying composition with Narong Prangcharoen. His work has been recognized with numerous awards and prizes, including 1st prize winner of the Asia Pacific Saxophone Composition Competition 2018, distinguished awards from the Young Thai Artist Award 2018 and 2020, winner of the Princess Galyani Vadhana Institute of Music Youth Orchestra (PYO) call for score 2020. His work has been performed on many occasions including the Thailand New Music and Arts Symposium 2019, the Thailand International Composition Festival 2018 and 2019 and the Asia Pacific Saxophone Academy Concert 2018. Some of his compositions are published on the UCLA Online Music Library, and one of his pieces for piano is included in the Trinity College London’s grade-2 syllabus for 2021-2023 piano exam. Rippling Origin (2021) for tuba and electronic

Rippling Origin is a piece for tuba and interactive electronics. The electronics part is mainly created by putting together the sound samples of the khong wong yai, a Thai traditional instrument, and processing them in different ways throughout the piece. What the electronics will play depends on the sound from tuba, which is inspired. Thus, all khong wong yai ‘s sounds are the ripples caused by what tuba plays. 41

Paper Presentation 1

Anders Flodin Anders Flodin (SE) is a composer, writer and lecturer. He is graduated at the Norwegian Academy of Music and studies at The Academy of Music and Dramatic Arts in Bratislava and The Academy of Perfoming Arts in Prague. He have been an Assistant Professor of Music Theory at the Department of Opera at Stockholm University of the Arts, Senior lecturer in Music Theory and Composition at Örebro University and Lecturer in Music Theory and Music Didactics at University of Borås. He is a writer and editor of Nine articles about music, commemorative book – FMT , Urban space as a resonance room – a sitespecific concert, Threads of sounds – Festival Nuovi Affreschi Sonori and Phronesis 2020. His compositions are published by Svensk Musik. Since 2021 he is freelance composer. “Numeral and Symbolic representation when coding in Estuary: Browser-based Collaborative Live Coding”

This paper focuses on the laboratory work in the art of live coding and in the use of Estuary, a browser-based collaborative projectional editing environment built on top of the TidalCycles language for the live coding of musical pattern. The paper explore the manner in which notation with numerals and symbols is encoded, processed and executed are examined with the aim of identifying the perceptual and practical boundaries of presenting notation on screen. The proto-compositions used in the article are composed by the author, Barry Wan - PhD-student in Visual Communication at University of Jan Evangelista in Ustí nad Labem, Czech Republic and Fabrizio Rossi - Diploma Accademico di Secondo Livello in Composizione, Conservatorio Statale di Musica “Alfredo Casella” - L’Aquila, Italy.

Project Performance 3

Hybridity and Reality: Featured Artists Evan Tedlock Evan Tedlock is an Assistant Professor of Visual Art at the University of Maryland Baltimore County whose work uses animation and digital interactivity as a tool to explore the invisible narratives of big and small data. He received a Bachelor of Fine Arts from the Kansas City Art Institute and a Master of Fine Arts from the University of Southern California where he was an Annenberg Graduate Fellow and co-founder of the Bridge Art and Science Alliance. His work has exhibited both nationally and internationally including at the V2 Lab for the Unstable Media in Rotterdam, The Directors Guild of America in Los Angeles, and most recently at the Consciousness Reframed Conference in Portugal. Currently, his research is focused in the area of data-driven immersive interactive experiences, primarily exploring environmental issues and identity. Psithaura The natural world is burning. Psithaura is a ritualized experience inspiring reflection on our relationship to nature. It asks how we frame nature in the current geological age where human activity has been the dominant influence on the environment. Through collaborative gestural participation, the installation awakens, transforming the gallery into a communal meditative space. Breath and C02 manipulate the visuals in real-time, producing direct feedback about the current state of this relationship.

Timothy Blunk Tim Blunk is a former US political prisoner who served over 13 years in prison - including 7 years in solitary confinement - for his activism in resistance to racism, US support for apartheid in South Africa, and its involvement in Central America during the 1980s. His case was documented by both Amnesty International and US Human Rights Watch. Released in 1997, Tim helped establish the Puffin Cultural Forum, a nonprofit art gallery and performance space recognized by the New York Times as one of New Jersey’s best alternative spaces. He served as its director for twelve years. Tim has expanded his artistic work to acting, set design, screenwriting, installation art, and performance art. He obtained his Master of Fine Arts degree and is now the director of Gallery Bergen for Bergen Community College. He is the editor and author of several books including the forthcoming documentation, Fire a Poem/Fire 1000 Poems now available online as an ebook.(Grossmanns Büro, München, 2021). 44

Timothy Blunk Fire 1000 Poems! A Fluxus Happening in Hybrid Space Hybrid Culture is Not Just Possible - It is Essential

“Each art object and phenomenon exists in dialogue with all other art past, present and future. Every artist is a part of this ongoing species conversation. The form and means of this conversation evolve along with us. Within our artistic language, we reimagine our world, and imagine a time and when those who are now possible the multinational thieves, the corporate parasites, the guardians of their watchtowers are nothing more than dark legends told as a cautionary tale.”

Interactive Installation - Artists

Michael Grossmann, artist Tim Blunk, artist Kerksakul Jaree,Tacet(i)’s member Paul Brody, jazz musician and composer Katharina Heissenhuber, soprano Oliver Klenk, clarinet Patrick Wengenroth, actor and theatre director

Live Performance - Program

Paul Brody Reiko Fueting Sunbin Kim

I Am Not Sitting In a Room 9 Songs Letters For a Screen

Performer

Katharina Heissenhuber, soprano Edzard Locher, performer Reiko Fueting, composer Michael Grossmann and Tim Blunk, text

Project Performance 3

Hybridity and Reality: Featured Artists The Hooting Cow Collective The Hooting Cow Collective is an international ensemble and study group of composers and performers with a shared curiosity for new music. Rooted in Cardiff University, Wales, we began working together in 2017 with the aim of exploring contemporary repertoire in a collaborative way. We believe in the value of the creative process, sharing ideas, and breaking down the boundaries between the composer, performer, and audience. To date, we have led workshops and performances in the local communities of Wales and at major international events. These include the 2018 Contemporary Music for All Festival (Cardiff, UK) and the 2021 ‘Jimei x Arles’ International Photo Festival (China). Our repertoire includes established composers such as Stockhausen, Cage, Oliveros, and Wolff as well as new works created specifically for and in collaboration with the ensemble. Throughout our work, the nature of the score has come into question as we try to open up spaces for participation, interpretation, and artistic collaboration. Our repertoire today includes everything from graphic and text scores, to audio-visual installations, pure improvisation, and an expanding collection of found and invented instruments. Hybrid Stories: Sonic Journeys of Global Collaboration The Hooting Cow Collective is a multi-national group of musicians founded in 2017 at Cardiff University. Shared interests in graphic notation, open scores, text scores, and improvisation brought us together as their unlimited interpretations transcend cultural boundaries and diverse musical backgrounds. We are currently all in different corners of the world, but this does not prevent us from connecting, virtually, to exchange our ideas and discuss various aspects of new music. Thailand New Music and Art Symposium 2021 Call-for-Projects is the opportunity for us to propose a hybrid performance that explores non-traditional notations to which we can all contribute. We will show how hybrid performance and scoring approaches allow us to continue to remain a collective that works and creates music together even though we are geographically separated. Our proposed session consists of two parts: a 60-minute performance and a 30-minute post-concert talk. The performance will showcase multiple realisations of a collaborative graphic score, similar to the ‘Exquisite Corpse’ method previously explored in Surrealism and the works of John Cage. We will each compose sections of a graphic score after receiving a starting point from the previous composer. The piece will be performed in 4 combinations of pre-recorded video (by members residing abroad), on-site performers (by members residing in Thailand), and a combination of both. The performance 46

will showcase the similarities and variations created when interpreting indeterminate scoring. Between different renditions of the collaborative piece, individual reactions to the symposium’s theme: ‘Hybrid World, Cultural Connection’ composed by members of the Collective will be performed. A variety of methods will be showcased: graphic and text scores, audio-visual installations, pure improvisation, and a collection of found and invented instruments. The post-concert talk provides space for discussion; an opportunity for audience members to explore issues from the performance directly with us. We will lead the discussion and look forward to hearing and learning from the audience, performers and composers alike. Through creating this space for exchange of ideas, we hope to provide an opportunity for everyone to leave with new ideas, questions, and fresh ways of thinking. The discussion will revolve around topics exposed in the performance, for example: non-traditional scores and notation practices collaboration and the role of improvisation in new music practice pros and cons of organising performances whilst spread across the globe any other aspects that the audience would like to explore Open conversations like this play a crucial role in our development as an ensemble and as individual musicians. Through discussion we can understand and challenge each other’s views, and learn from each other, no matter what role we played in the concert. We hope that the audience will get as much from the experience as we will.

Program A Portrait of You: Rumour for solo percussion Exquisite Distance No. 1 Myopic Sequence for alto saxophone Exquisite Distance No. 2 Murmuration for clarinet in Bb Exquisite Distance No. 3 Post-concert talk

The Hooting Cow Collective Ana Beatriz Ferreira Jerry Yue Zhuo Laura Shipsey Magdalena Pasternak Poumpak Charuprakorn Richard McReynolds Thomas Pitt

(Portugal) (China) (UK) (Poland) (Thailand) (Northern Ireland) (England) 47

TNMAS Saturday 18th December 2021

at Bangkok Art and Culture Centre

SCHEDULE Saturday 18th of December 2021 09.00 - 10.30 Paper Presentation 2: Magnificent Music Meet & Multicultural integration of tradition and contemporary dialogue Presentation by Zhang Xiyue, Magnificent Music Meet Presentation by Xiao Yue, Multicultural integration of tradition and contemporary dialogue 10.30 - 11.30 Paper Presentation 3: The Water Has Found its Crack: Finding Armenia Through Music Presentation by Joseph Bohigian 10.00 - 11.30

Registration / Exhibition

11.30 - 13.00 Discussion 3: Decolonization and Multiculturalism Moderator: Anothai Nitibhon Panelists: Christopher Adler, Thanakarn Schofield, Ryo Hasegawa, Anant Narkkong 14.00 - 15.30 TNMAS Performance 2: Global Scores Anselm McDonnell Cross-Purposes for b-flat clarinet/bass clarinet, cello & mixed media Geli Li Long Nights for percussion, clarinet, alto saxophone and cello John Aulich Billows of Muteness, Movement 1 for violin, gravity bone (prepared trombone) and live electronics Barry Yuk Bun Wan The Misty Morning 晨霧 for alto/tenor saxophone, violin, cello andfFixed media Andrew Watts Wirewound for mixed chamber ensemble Candra Bangun Setyawan Brandal Lokajaya for 8 musicians flute, clarinet in Bb, altoSaxophone, percussion, e-guitar, violin, viola and cello 16.00 - 17.00 TNMAS Performance 3: Voice of New Generation, Young Thai Commission Concert Varis Sirisook BOW & AERO:Takes Off for electric guitar and string quartet Mahakit Mahaniranon กล่อม Glom, Lullaby for Nightmare for violin, viola, cello and electric keyboard Voraprach Wongsathapornpa Svarga for flute, violoncello, and DIY percussion instruments Jirath Patpradit Black, Hero (黑,ヒーロー) For violin, viola and electronic sounds Alric Samuel Godfrey Quartet for flute, trombone, cello and classical guitar Chinnapat Charoenrat Inequality 17.30 - 19.00 TNMAS Performance 4: Swiss Soundscapes Nathanael Gubler Der Schattentanz des Kalifen Storch for piano trio with electronics Pongtorn Techaboonakho “Error” for alto saxophone and fixed electronic tape Eleni Ralli 5 Mysterious Scenes for solo violin Mauro Hertig One Last Time, the Same for two soprano saxophones Poumpak Charuprakorn Stretches III

Paper Presentation 2 Zhang Xiyue Zhang Xiyue (Born 1990, Jiangxi, China) is a teacher of Electronic Music Depart-

ment, Sichuan Conservatory of Music. In recent years, her researches focus on the Contemporary music and Electronic Music. Many academic papers have been selected or published in important activities at home and abroad, including the 2017 Electroacoustic Music Studies Network (EMS, Japan - Nagoya); 2018 the 21st CHIME International Conference Chinese Music and Musical Instruments: 3rd Lisbon Conference (Portugal - Lisbon); 2019 International Computer Music Conference (ICMC, New York, USA); 2019 Korean Electro Acoustic Music Society Annual Conference (KEAMS, Seoul, Korea), etc.; She won the bronze prize in the 2018 Beijing International Electronic Music Festival Academic Paper Competition. Magnificent Music Meet - View culture integration from China-ASEAN Music Festival”

China-ASEAN Music Festival (东盟音乐周), sponsored by Guangxi Arts University, strives to build an international music cultural exchange activity. It aims to show the features of music culture of China and South-East Asia Region as well as promote exchanges of music culture between China and ASEAN countries and even the whole world.

Paper Presentation 3 Joseph Bohigian Joseph Bohigian is a composer and performer whose cross-cultural experience as an Arme-

nian-American is a defining message in his music. His work explores the expression of exile, cultural reunification, and identity maintenance in diaspora. Joseph’s works have been heard at the Oregon Bach Festival, June in Buffalo, Walt Disney Concert Hall, New Music on the Point Festival, TENOR Conference (Melbourne), and Aram Khachaturian Museum Hall performed by the Mivos Quartet, Decibel New Music, Great Noise Ensemble, Argus Quartet, Fresno Summer Orchestra Academy, and Playground Ensemble and featured on NPR’s Here and Now and The California Report. He is also a founding member of Ensemble Decipher, a group dedicated to the performance of live electronic music. Bohigian has studied at Stony Brook University, California State University Fresno, and in Yerevan, Armenia with Artur Avanesov.

Xiao Yue Xiao Yue (Born 1993) is a Chinese researcher and educator who holds a Bachelor degree in Mu-

sic Education and a Master degree in Composition and Technical Theory from the Sichuan Conservatory of Music. Her research and thesis have been featured in several conferences which include: - 2018 SCCM Annual Research Project: On the integration of modern compositional techniques and elements of Beijing opera , the paper was published in Yellow River Sound, No.08, 2020. - 2019 SCCM Annual Research Project: “The Integration of Modern Composition Techniques and the Relationship between Poetry and Music of Contemporary Art Songs”, published in Yellow River Sound, No. 15, 2020. - 2019 SCCM Annual Research Project: “The Transformation of Timbre between “Non-Extending Instruments” and “Extending Instruments””, published in Yellow River Sound, No.15, 2021. - 2019, Exploring the polyphonic technique of pentatonic longitudinalization was selected for the “Commemoration of the 40th anniversary of the First Harmonics Symposium and the 2019 Harmonics Symposium” and published in the Yellow River Sound, No.14, 2020. - 2021, “A Study on the Relationship between Pitch Structure and the Evolution of Musical Form: Schoenberg’s Das buch der hänggenden Gärten as an Example” won the “Outstanding Essay” award in the “Essay Collection and Competition”. Multicultural integration of tradition and contemporary dialogue -- Take Sound Bridge Music Festival as an example

The Biennial Sound bridge Contemporary Music Festival, organised by the Society of Contemporary Composers Malaysia (SMCC), has been held for four consecutive years since 2013. Aimed at promoting cultural exchanges between artists from Southeast Asia and other countries and regions, the festival displays a cross-cultural character based on the active promotion of contemporary music works by Malaysian composers and Southeast Asian countries. This paper takes Sound Bridge Music Festival as the object to discuss the cross-cultural phenomena in it. The main contents are as follows. Introduction: Overview of the “Sound bridge” Festival Since the “Sound Bridge” Music Festival was held in 2013, it has experienced the development process from the minority to the mass. The basic information about the music festival is summarized as follows: 1) The performance of the concert works 2) Performing composers and artists 3) Special theme concerts such as “Malaysia Voices”, “Connecting Cities”, open rehearsals and composer workshops.

“The Water Has Found its Crack: Finding Armenia Through Music” The displacement of the 1915 Armenian Genocide looms large in the Armenian collective memory, as seen in the work of composer/musicologist Komitas Vardapet. In this paper, dispersion as a central feature of Armenian existence is explored through Edward Said and Sylvia Alajaji’s analyses of exile. The longing to reclaim elements of lost culture is seen throughout Armenian diasporic culture through a multiplicity of homes. In response to the notion of return to the homeland, I moved to Armenia and wrote a piece titled The Water Has Found its Crack, tracing displacement, dispersion, and reclamation in Armenian culture. My intention for doing this is to explore the ways these three elements of Armenian culture affect the negotiation of internal and external identity boundaries in diaspora. The idea of the water finding its crack is represented in the text, which comes from fragments of Armenian folk songs and references water as an exploration of displacement, dispersion, and reclamation. In the piece, I reflect on the centrality of displacement in Armenian culture in a quasi-folk song. The fluidity of dispersion manifests in lingering quarter tone glissandi which push at the boundaries of the tetrachord structure of Armenian music. The reunion of reclamation comes through an abstraction of sacred chant. The negotiation of identity boundaries is a central feature of identity maintenance for the dispersed, and thus the negotiation of fluid boundaries is an important part of music in search of Home. This is the story of Armenia. The story of an exiled people longing to be reunited – the story of the water finding its crack.

TNMAS Performance 2: Global Scores Dr. Anselm McDonnell Dr. Anselm McDonnell is a composer of Irish/Welsh heritage based in Belfast, who has composed over seventy pieces for orchestra, chamber groups, choirs, soloists and electronics. His music has been performed in Canada, Finland, Czech Republic, Japan, Russia, France, North America, and various locations around the UK and Ireland. A diverse range of interests have led to the creation of work in collaboration with lighting designers, theologians, poets, filmmakers (including 360 VR, ambisonic recording and spatialized sound), improvising musicians, fashion designers, dancers, and actors. An award winning guitarist, he also performs contemporary works on electric and classical guitars. Cross-Purposes (2020) for b-flat clarinet/bass clarinet, cello and fixed media

Cross-Purposes is a journey through the contradictory chaos of government advice, restrictions, and political controversy through the months of April-August 2020. The work uses vocal samples from prominent politicians in the UK and Ireland: as events unfolded over these months, so did the composition, with each new statement or catchphrase providing sound bites for the piece. The instrumental and electronic parts provide an aggressive commentary on the events referred to by the voices, with my aim being to remind us of the more notorious moments that took place in the public sphere during this period of lockdown.

Geli LI Geli LI (b.1992) is a composer and pianist who straddles both Eastern cultures and Western cultures, and explores the intersection and relationship of literature, philosophy and other arts to shape personal musical vocabulary. Her music has been performed internationally by leading artists including Switch~Ensemble, Chamber orchestra-Jahrhundert- xx- Österreich, NOMAD Tokyo, Altiusin quartet, Chamber orchestra Klangforum Wien, Berlin Zafraan Ensemble, Beijing Modern Ensemble, China Broadcast Traditional Orchestra, Central Conservatory Symphony Orchestra and ChinaYouth Symphony Orchestra. She also worked with a great number of conductors and composers including Peter Burwik, Manuel Nauri, Norman Huynh, Bright SHENG and among others. Since 2012, she has received awards and prizes in composition competitions more than ten times. In 2017 Geli was a Composer Fellow at the Intimacy of Creativity Chamber Music Festival at the Hong Kong University of Science and Technology. Geli earned her bachelor’s and master’s degree in Composition at the Central Conservatory of Music in Beijing, China. From 2014-2015, she was educated at the Hochschuler für Musik und Theater Hamburg under Elmar Lampson. In 2020, she started her new journey of doctorate in Music Composition at the University of Texas at Austin with Professor Donald Grantham and Januibe Tejera. Long Nights (2020) for percussion, clarinet, alto saxophone and cello

Long Nights, was composed in the second half of 2020. The initial inspiration for writing the piece comes from the thought and feeling after I read a mystery novel about how some people can endure, struggle for decades and even sacrifice their life, just because they want the hidden truth to be exposed. Their power is so vulnerable, like an extinguishable candle sparkling in the endless long nights. 52

Featured Artists John Aulich John Aulich (b.1992) is a British new music composer based in Buffalo, US. His works have been performed worldwide, including the UK, the US and Australia. He undertook his undergraduate and master’s studies at the University of Huddersfield, with Bryn Harrison and Aaron Cassidy (2011 – 2016). On the completion of his undergraduate degree, he was awarded the Chancellor’s Prize, the J. Wood & Sons Prize for Composition and the Truscott Prize for All-round Achievement. He is currently undertaking his PhD at the University at Buffalo with David Felder (since 2018). Billows of Muteness, 1st Movement (2021) for violin, gravity bone (prepared trombone) and live electronics

Billows of Muteness is written with an instrument-specific tablature specifying the physical actions to be undertaken in the course of performance. While this is primarily as a result of the nature of the materials themselves, it is also a consequence of the unpredictable nature of the gravity bone and of the violin on those strings to which a radical scordatura has been applied.

Barry Yuk Bun Wan A diverse musician, Czech-based composer, sonic artist and guitarist Barry Wan’s music has been performed in USA, Mexico, Brazil, Sweden, Belarus, Italy, Czech Republic, Slovakia, Poland, Spain, Austria, Germany, Belgium, Japan, Taiwan and Hong Kong. He awarded and featured in different international festivals and competitions such FORO 2012 and 2013 in Mexico City, finalist at SIME 2015 in Lille, France and First prize at Musica Nova 2018. Mr. Wan is also active as a performer and interpreter of contemporary music. He was invited perfom in different music festivals around europe, such as Orfeus 2015 new music festival in Slovakia and Festival Aktuelle Musik 016- open space in Nuremberg. He also studied mastercalss with Andrew York, Scott Tennant, Jorge Caballero and Maria Linnemann. Currently he is teaching and completing the Ph.D. degree under the tutelage of doc. Mgr. A. Daniel Hanzlík at Jan Evangelista Purkyne University in Ústí nad Labem, Czech Republic. The Misty Morning (2019) for alto/tenor saxophone, violin, cello and fixed media

“mountain mist is sly, by the late Spring breeze misguided. The nihilistic mist is wet, I’m almost drowned to death. I see nothing but the mist, where is the west and east? Soaking, moaning, sinking… I’m faint, I’m lost, I’m fearful. Suddenly, The mountain mist sweeps me to the sky, Soon I start to fly. The silent night is deep, am I able to sleep?” 53

Performance 2: Global Scores

Andrew A. Watts Andrew A. Watts is a composer of chamber, symphonic, multimedia, and electro-acoustic works regularly performed throughout North America and Europe. His compositions have been premiered at world-renowned venues such as Ravinia, the MFA Boston, Jordan Hall, and the Holywell Music Room. Watts has written for top musicians and ensembles including Ekmeles, Proton Bern, Distractfold, RAGE Thormbones, Splinter Reeds, Quince, Line Upon Line, Tony Arnold, and Séverine Ballon. In 2018-2019 Watts wrote a new large-scale work for chamber orchestra with dual soprano soloists entitled Adhocracies for Ensemble Dal Niente. He completed his D.M.A. in Composition at Stanford, received his master’s with distinction from Oxford, and his bachelor’s with academic honors from the New England Conservatory. He has been a featured composer at the MATA Festival (USA), impuls Academy (Austria), Rainy Days Festival (Luxembourg), Delian Academy (Greece), Young Composers Meeting (Netherlands), Cheltenham Music Festival (England), Course for New Music at Darmstadt (Germany), Composit Festival (Italy), Ostrava Days Institute (Czech Republic), highSCORE Festival (Italy), Wellesley Composers Conference (USA), Etchings Festival (France), Fresh Inc. Festival (USA), New Music on the Point (USA), and Atlantic Music Festival (USA). Watts is currently a Lecturer in Music Composition at UC Santa Barbara’s College of Creative Studies. Wirewound (2017)

for mixed chamber ensemble Wirewound is a compositional experiment overlaying two distinct procedures, a fractal treatment of form/section and an isorhythmic treatment of color/texture. The result is seen in the writing of the dual wirewound instruments’ moto perpetuo through-line, functionally akin to a spinal column. The orchestration of the mixed ensemble “blooms” or collapses from this axial structure.

Candra Bangun Setyawan Candra Bangun Setyawan is a composer, researcher, and music educator, born in Jombang, East Java. Completed a Bachelor of Music and Dance Education at the State University of Malang and completed a Masters in Music Art Creation at the Indonesian Art Institute Yogyakarta. Since 2015, he has focused on studying music composition under the guidance of Dr. Royke B. Koapaha (Music Theory), Diecky K. Indrapraja (Composition and Orchestration), Tony Maryana (Computer Music). Candra is currently conducting research on the development of an Algorithmic composition as an innovative procedural model for learning music composition in senior high schools in Indonesia. Brandal Lokajaya (2021)

for 8 musicians flute, clarinet in Bb , alto saxophone, percussion, e-guitar, violin, viola and cello The idea of this piece was inspired by Sunan Kalijaga’s approach in spreading Islam in Indonesia, especially on the island of Java. Sunan Kalijaga used a syncretic approach in spreading and teaching Islam on the island of Java at that time. He mied traditional Javanese art idioms with Islamic religious idioms, such as the use of carvings, wayang, gamelan, and suluk as a means of spreading and teaching Islam. In simple terms, the idea of this piece is centered on the idea of syncretism which was inspired by Sunan Kalijaga’s da’wah style, the concept of syncretism is closely related to the idiom area which invloves the idioms of tradtional Javanese music and western music. Materially this piece combines several elements of traditional Javanese music and western music, such as scales, rhythhms are the compiled with contemporary musical style. 54

TNMAS Performance 3: Voice of New Generation, Young Thai Commission Concert Varis Sirisook Varis Sirisook began playing the violin at the age of 3. A few years later, he entered Shrewsbury International School Bangkok, where he studied the instrument under Tatiana Sergeenko for 12 years. During his time at Shrewsbury, he became a music scholar, participated in many of the school’s ensembles, and was awarded a distinction in DipABRSM Violin at 15. At 10, he started taking composition lessons from Professor Dr Narongrit Dhamabutra. One of his early compositions was the end credits music of ‘Lost in the Mists of Time’ for the Oxford Southeast Asian Documentary Film Festival 2016. In 2018, he premiered and conducted ‘All the World’s a Stage’ with the Sunrise String Orchestra at Chulalongkorn University. Since 2020, he has been reading Music at Durham University in the UK under various professors, including Dr James Weeks and Professor Julian Horton, and taking instrumental lessons from Iona Brown. BOW & AERO: Takes Off for electric guitar and string quartet Bow & Aero for electric guitar and string quartet is reminiscent of an aeroplane taking off. The sound of engines and airflow were reimagined as a sonic piece, where there is experimentation with unique timbres. In addition to the unorthodox performance techniques used by the string quartet, the electric guitar relies heavily on effects such as distortion, delay and looping, increasing the resemblance to what one might hear on a plane. Temporal notation is used instead of the standard notation due to the emphasis on timbre over time.

Mahakit Mahaniranon Mahakit Mahaniranon is a Thai composer-performer who plays piano and modular synthesizer. He has a passion for contemporary classical music, experimental and interactive electronics, visual arts, noise, improvisation, and world music. He graduated with bachelor’s degree in piano performance major and music composition minor from the Conservatory of Music, Rangsit University, Thailand. He had studied classical piano with Dr. Trithip Kamolsiri and had studied composition with Assist. Prof. Boonrut Sirirattanapun and Dr. Pasinee Sakulsurarat. Moreover, he had studied other interesting fields such as studying jazz piano with LCdr. Dr. Nop Prateepasen and Ajarn Janpat Montrelerdrasme including studying sound synthesis with Ajarn Pradit Saengkrai. Nowadays, he is also a member of the composer and performer group named Tyoy New Music.

กล่อม Glom Lullaby for Nightmare (2021)

for violin, viola, cello and electric keyboard

กล่อม Glom (Lullaby for Nightmare) It is a song inspired by “singing a lullaby” for someone we love and wish well to have a good night’s sleep. Nevertheless, the composer has reinterpreted that sometimes people may not always have a good night’s sleep because life isn’t a bed of roses. However, We need to experience things that are different from what our heart hopes in order to gain new experiences for a strong and growing mind in the future. On the other hand, cursing those we do not wish well, the person we feel angry with or the person we hate. The composer uses a keyboard instrument to represent the narrative of a fictional character or an ongoing event and the string instrument is used to represent the surrounding atmosphere of the story including one more interesting thing is that the tuning system of the keyboard is not 12 equal temperament, but 14 equal temperament. Moreover, in some periods, you will find a method of playing that is close to the distinctive characteristics of the Thai Kong Wong Yai.

Featured Artists Voraprach Wongsathapornpat Voraprach Wongsathapornpat (b.1996) is a composer, conductor, arranger and orchestrator for films and musicals. He graduated from the University of Cambridge with a first class dissertation prize, where his composition teachers were Ewan Campbell and Oliver Rudland. He is the Grand Prize winner of the 2020 Young Thai Artist Award in Composition. He received a Distinguished Prize from the same competition in 2016, as well as the 2nd Prize at the Siam Sinfonietta Competition in 2011. His orchestral and chamber pieces have been performed in the UK, Germany, Central Europe, Japan, Singapore, and Thailand. He studied Japanese gagaku music at Kyoto University during the second year at university, the aesthetics of which had since been a major influence on his writing. His music and orchestration for feature films and series by the BBC, Netflix, Shanghai Media Group have been recorded by the English Sessions Orchestra, Prague City Philharmonic Orchestra, Budapest Scoring Orchestra, and Thai Youth Orchestra. He is currently the assistant conductor at Opera Siam and the Siam Sinfonietta in Thailand. He specialises in conducting operas and the core symphonic repertoire, and has been a finalist at Nino Rota Conducting Competition in Italy.

Svarga (2021) for flute, violoncello and DIY percussion Svarga (2021), for flute, violoncello and DIY percussion, took the idea about a child’s innocent vision of heaven, as found in such literature as the German poem collection Des Knaben Wunderhorn, as a starting point. The process of the piece is a gradual shifting of colours, register and density of notes through the entire spectrum of each instrument, going from dark to light, opaque to transparent, perhaps suggesting a deceased child’s soul rising towards heaven. Once there, a phrase by Mahler is quoted, representing his vision. The child finds out that the “heaven” is not the one taught by his parents, and not the one in his imagination at all. Crushed, the child quickly descends to hell for subscribing to the wrong religion all along.

TNMAS Performance 3: Voice of New Generation, Young Thai Commission Concert

Jirath Patpradit (徐理仙, Xu Lixian) Jirath Patpradit (徐理仙, Xu Lixian) is a Thai Composer, Music Producer and Vocalist. He has interested in electronic dance music, soundscape and social issues. He graduated with a master’s degree in music composition from Faculty of Music, Silpakorn University. Black, Hero (黑，ヒーロー) for violin, viola, and electronic “Black, Hero” tells story about fight of youth in the Darkness era, people who fight for their freedom, future and what they are facing when they try to make a change. This piece shows the tension of situations and events through changes of musical materials. The name of a piece has inspired by Japanese Number wordplay.

Alric Samuel Godfrey Alric Samuel Godfrey (b.1997, India) has had a keen interest in music from a young age, but no formal training in it, starting off by self-learning to play the guitar at the age of 14. He grew up without exposure to serious music until the age of 16 when he was asked to present on Beethoven’s life for a school project. Since then he became very interested in composing music. Before entering the College of Music to formally study music, he completed a degree in Business Administration at the Madras Christian College, while he concurrently studied music theory with Mr. Augustine Paul. Eager to join a composition course, he has begun studies in composition with Dr. Jason Thorpe Buchanan at the College of Music, Mahidol University in 2020. As he continues his studies, he ambitiously looks forward to exploring new projects that will satisfy his diverse artistic interests.. Quartet (2021) for flute, trombone, cello, and classical guitar This Quartet for Flute, Trombone, Cello, and Classical Guitar is an exploration of the unique, idiomatic characteristics of these four drastically different instruments. I tried to use various gestures that emphasize particular timbral qualities as a basis to generate relationships between the instruments and to create distinguishable textures as a compound. I use these textures as basic materials that form the structure of the piece. I also experimented by incorporating the harmonic series, microtonality, repetition, and the expansion and diminution of modules. This piece marks a complete reinvention of my composition style, of one that I am pleased with.

Chinnapat Charoenrat Chinnapat Charoenrat was born and raised in Bangkok, Thailand in 1996. He started by learning piano when he was 8 years-old. When he turned 12 years-old, he joined Assumption College Band as a percussionist. After he completed his music studies at Assumption College, he continued his passion for music by attending numbers of music contests. Few years later, he was admitted to the pre-college music program at College of Music, Mahidol University. Charoenrat was majoring in the percussion performance of western music with Mr. Kyle Acuncius. He also took a minor in Composition with Dr. Julia Bozone and in Conducting with Dr. Erin Bodnard. Chinnapat Charoenrat graduated with a Bachelor Degree in Music Composition with Dr. Julia Bozone and Dr. Tyler Capp at College of Music, Mahidol University in 2018. Now, he is working towards his Master Degree in Western Music (Music Composition) with Prof. Narongrit Dhamabutra at Faculty of Fine and Applied Arts, Chulalongkorn University. In 2016, he won a distinguished prize in the music composition category from the Young Thai Artist Award 2016. Within the next year, he also earned a Special Jury’s mention prize in music composition category and the next year, he also earned a distinguished prize again in music composition category from the same project sponsored by the SCG foundation. Inequality (2021) for bass clarinet, alto saxophone, and drum set Inequality is a narrative piece of music to the inequality within an unjust social structure. This piece discusses inequality refers to disparities in the distribution of economic assets and income as well as between the overall quality and luxury of each person’s existence within a society. The sound of the instrument showed a battle. The strong beat and then the beat gradually overlapped from the electronic sounds that gradually shortened, the confusion and turbulence of the music and difficult beats.

TNMAS Performance 4: Swiss Soundscapes Nathanael Gubler Nathanael’s current artistic agenda involves the idea of assessing the distance between the personal evolution and the assumption of a collective norm. He describes this deviation as a musical fungus which has grown on an imaginary statute of history and is fed by our memories. He collects fungi from within his personal history but also other, communal species which grow on (music) culture as a whole. Instead of preserving the statue and disposing the new spores, Nathanael chooses to cultivate them and grow an entirely new breed. Nathanael’s musical journey lead him from Switzerland to Brazil, the UK (graduating with first class degree from the RCM London in 2015), Netherlands, Spain, Germany, France, Italy, Thailand and Israel (Master’s in contemporary music composition and performance with the Ensemble Meitar). He received tutoring in composition from figures including Wolfgang Rihm, Helmut Lachenmann, Beat Furrer, Samir Odeh-Tamini, Dai Fujikura, Jonathan Cole, Dieter Ammann and Stefano Gervasoni as well as performance masterclasses from Bryan Ferneyhough, the Adritti Quartett, Marton Illes and Rebecca Saunders. Der Schattentanz des Kalifen Storch (2020) for piano trio with electronics

In the German fairy tale Gesichte des Kalif Storch a caliph which has been magically transformed into a stork observes a female stork practising her dance moves. The caliph can not hold himself of laughter which in turn locks the spell of his stork appearance. What would happen if the caliph would now start to enjoy his bird form and gladly join the other stork in her dance? With this thought, the music sets out to break the linearity of the narration. The trio plays bits and shadows of musical phrases as well as vocal fragments of Swiss narrator Trudi Gerster. Words and sound assemble into dancing reflections and shadows.

Pongtorn Techaboonakho Bangkok-born, Pongtorn Techaboonakho (b.1996) is a young generation Thai composer and audio engineer. He studied guitar with Chairat Pornamnuay and entered the Pre-College Program at College of Music, Mahidol University in 2012 majoring in classical guitar. In 2018, he obtained a Bachelor’s of Music at Princess Galyani Vadhana Institute of Music (PGVIM) with a full scholarship where he studied classical guitar with Padet Netpakdee, Jetjumnong Jongprasert, and music composition with Dr.Anothai Nitibhon and Dr.Jiradej Setabundhu. In 2021, he finished Master’s Degree in mixed composition at the University of Birmingham (England) under the supervision of Dr. Scott Wilson. Currently, he is pursuing another Master’s Degree in Contemporary Music Creation at Musikene (Spain) under the supervision of Ramon Lazkano. He is also studying with a Thai composer, Piyawat Louilarpprasert.

Featured Artists Eleni Ralli Eleni Ralli (1984) is a Greek composer and researcher. She received Bachelor and Masters degrees in Composition, Music Theory and Musicology from the Aristotle University of Thessaloniki (2013), Basel Music Academy (2016) and Bern University (2018). Currently, she is proceeding with her PhD in Composition (Basel Music Academy/Aristotle University of Thessaloniki) and Musicology (Bern University), researching the American composer, Harry Partch (1901-1974). She was a Fulbright scholar, for the academic year 2020-2021. As a composer, she has won many prices, attended many workshops, seminars, and master classes for contemporary music and in addition, professional ensembles and festivals regularly commission pieces from her . Her works have been performed in Germany, the US, Ukraine, Switzerland, Greece, Belgium, France, Poland, Holland, Israel, Austria, Iran, Argentina, Russia, England, Estonia, Thailand and Italy. Her work GO WITHIN for Tenor Saxophone is released in Don Paul Kahl’s homonymous solo album in 2021. She is a founding member of the Ensemble False Relationships and the Extended Endings, founded in 2019, concentrating on performing contemporary music and located in Germany, Switzerland and France. | http://eleniralli.webpages.auth.gr/harrypartchre-enacted/ 5 Mysterious Scenes (2020) for solo violin (Commissioned by Mizmorim Festival in memoriam of Hansheinz Schneeberger Composed for and dedicated to Ilya Gringolts) 1. Introduction:The Flow, 2. All together, 3. While I hold, you play 4. Left and Right, 5. Closure:The Choral Five different personalities, representing different human behaviors, transferred on a single piece and mirrored to material/human duo. The violin is personalized and is in constant dialogue with itself and its performer. The imaginary “scenery” is changing moods: from calmness, to aggressiveness, to multilayering, to estrangement, until finally reaches its inner peace. These different levels of emotion, formed through material and articulation, lead to a never-ending circle. Each character is connected to the next one, by flowing into the other, or sharing common characteristics. 5 fragmental representations united into an inseparable unity.

“Error” (2021) for alto saxophone and fixed electronic tape “Error”; for alto saxophone and fixed electronic tape is about an unsmooth connection between human and computer. Computers commonly get errors, or have malfunctions because of a bug, which causes many unexpected events. With human beings, nothing can be made perfectly and without any mistake in our lives. So, I reinterpret the faults and errors of computers and humans according to my experience into music with digital sound elements. This piece is divided into three main sections: the sense of the primary computing process, which are 1) boot up and connecting, 2) data feeding and transferring, and 3) system malfunction to shut down. Also, the sound elements in each section represent errors by making a feeling of uneven rhythm by an un-synchronizing performer and tape. 61

TNMAS Performance 4: Swiss Soundscapes

Mauro Hertig Mauro Hertig is a Swiss-born composer with an output of ensemble, chamber and site-specific works. His research lies on explorations of interdependence, creating stage environments that distribute agency in decentralized settings, often using sounds of intimate speech, touch and instructions. Recent commissions include works for Ensemble Recherche, Collegium Novum Zürich, Royaumont Foundation, Ensemble Tzara, Basel Sinfonietta, among others. From 2018 to 2020, Mauro Hertig has been composer-in-residence at Institute for Computer Music and Sound Technology Zürich, the Camargo Foundation France and 180° Festival for Innovative Arts Sofia. He is a 2020 participant of the Opera Creation Academy of Festival Aix-en-Provence. Mauro Hertig lives and works in Berlin. One Last Time, the Same (2021) for two soprano saxophones One of the performers reads from the score while the other listens and imitates them by ear - an unprepared, clumsy quasi-canon. The role of who is originator and who is imitator constantly changes. While the performers aim at fulfilling the task as well as possible, the result is always full of inaccuracies and unforeseen moments.

Featured Artists Poumpak Charuprakorn Poumpak Charuprakorn, a Thai composer/tubist whose interests lie in both instrumental and electroacoustic compositions, obtained his first degree at Chulalongkorn University (Bangkok, Thailand) under the guidance of Professor Narongrit Dhamabutra and Professor Weerachat Premananda. Supported by the Office of Higher Education Commission of Thailand, he later studied with Dr Harris Kittos and Dr Jonathan Cole and received his Master of Music in Composition from the Royal College of Music (London). In 2020, Poumpak obtained a Doctor of Philosophy in Music (Composition) from Cardiff University under the supervision of Professor Arlene Sierra. His compositions have been featured in, for example, Thailand International Composition Festival 2015, Valencia International Performance Academy and Festival 2018, Bangor Music Festival 2019, Sciencefest 2019 (Cardiff), and Toronto Contemporary Music Lab 2019. In 2020, he was part of National Theatre Wales Located Residencies project ‘Back to the Land’, into which he incorporated the soundscapes of a farm near Abereiddy, Pembrokeshire. Poumpak is an Associate Fellow of the Higher Education Academy (UK) and a lecturer at Silpakorn University Faculty of Music in Bangkok, Thailand. He is currently working of a series of compositions for a small ensemble with live electronics, funded by the National Research Council of Thailand. Stretches III Stretches III, composed specially for Thailand New Music and Arts Symposium 2021, is the third piece from a series of compositions for Gametrak controller and Max/MSP. The series was first developed in collaboration with Swansea Laptop Orchestra in Ty Cerdd’s CoDI ELECTRONIC project in 2019. Similar to the rest of the series, Stretches III explores a delicate sound world of white noise with multiple band-pass filters and technological translation of physical movements into sounds by a Gametrak controller, a gestural device with a motion-tracking function. However, this particular composition also aims to explore the interaction between a performer and a pre-programmed, but somewhat indeterminate, Max/MSP patch on a computer. The performer and the computer alternately feature in different parts of the composition. Sound masses created by the performer’s gestures and the computer present the audience with rich electroacoustic sonorities which roam freely within the performing space via stereo speakers.

TNMAS Sunday 19th December 2021

at Bangkok Art and Culture Centre

SCHEDULE Sunday 19th of December 2021 10.00 - 12.00

Registration / Exhibition

12.30 - 14.00 Discussion 4: Hybrid World Moderator: Piyawat Louilarpprasert Panelists: 15.00 - 16.00

Siravith Kongbandalsuk, Thanapat Ogaslert, Jiradej Setabundhu

TNMAS Performance 5: Reconnection of Cultures

Sergio Cote Barco

for guitar soloist and three accompanying bowed string instruments

Narong Prangcharoen

The Dawn Of Darkness for tenor saxophone and fixed media “motion score”

AS - Transformation Studio

local-large : A Collage of Local Sound Fragments to Further Connects.

Emily Koh

aphonia for vocalizing violin and viola

Jason Thorpe Buchanan

oggetti II for the TACETi Ensemble and TNMAS 2021

Kevin Leomo

signs of absence for flute, clarinet, alto saxophone, two violins, viola, cello

17.00 - 18.00

TNMAS Performance 6: Collective Minds – Neural Network

Anothai Nitibhon

Rebreath

Jiradej Setabundhu

Sailing to Byzantium

TACETi Ensemble

ฆ้อง ราว ท่อ (ฆ. ร. ท.) / Collective of Resonations

18.00 - 18.30

Closing Ceremony

TNMAS Performance 5: Reconnection of Cultures Sergio Cote Barco Sergio Cote Barco (1987, Colombia) is a composer, improviser, and researcher, whose work focuses on different modes of listening, alternative music notation, and disobedient uses of technology. While dealing with musical scores as places of resistance and materiality, his pieces encompass various kinds of noises (digital and analog), acoustic phenomena, and how these could be shaped to explore different kinds of curious listening. As an improviser, Sergio is part of the sound-based performance art duo, etc, of the ambient-drone duo La Era del Ruido. He also collaborates with singer/performer Valeria Barnier and with composer Juan Camilo Vásquez in Cojín de Chayán Chiquito. His pieces have been performed and commissioned by ensembles such as the International Ensemble Modern Academy (Frankfurt), Neopercusión (Madrid), The [Switch~Ensemble], Ul [música mixta] (Bogotá, Colombia), Mise-en Ensemble (New York City, US), Ensemble Taller Sonoro (Seville, Spain), and the National Symphony Orchestra of Colombia; and featured in Festivals such as Thailand new Musc and Arts Symposium (Bangkok, Thailand), Darmstädter Ferienkurse (Darmstadt, Germany), Contemporary Music Days (Bogotá, Colombia), Sacred Music Festival (Madrid, Spain), Mise-en Festival (NY, USA), Casa Tomada (La Habana, Cuba), The Dog Star Orchestra (Los Angles, US), among others. Sergio received a DMA in composition from Cornell University and curently teaches composition at Javeriana University, Bogotá, Colombia. “for guitar soloist and three accompanying bowed string instruments”(2021)

three moments played one after the other without pauses

AS - Transformation Studio AS - Transformation Studio, is passionate about encouraging people and community transform their thoughts, develop processes and reach their full potential via technology and experimental design approaches. In terms of cultural transforming, for us, sound seems to be a universal medium to enable an intercultural connection since sound or music is constitutive part of each social and individual identity. For this project, we start to examine the transmission of local cultures with sound as key of development. AS aim to build a creative master plan with execution for the future of user experiences though-out the world. Craftsmen in innovation strategy, customer experience, moving image, art and sound, creative coding, XR technology and social platforms, we create experiences digitally and physically. Local-large (2021): A Collage of Local Sound Fragments to Further Connects.

An experimental performance by AS studio. As our objective has been set around “How can we experience the local or culture in another way?” We started to discover a way to local sound objects into a new environment, which experimented on sound components, sound 3D and game simulation processes. The performance will present the system in a virtual experience that is guided by user interactions. It will be built around 3D visual designs and softwares like Unity, Blender and Reaper which combine with our knowledge in design, sound as well as transformation foresight strategy to explore large-scale opportunities.

Featured Artists Narong Prangcharoen Thai Composer Narong Prangcharoen’s success as a composer was recently confirmed by his receiving the prestigious 2013 Guggenheim Fellowship and the Barlow Prize. Other awards include the Music Alive, the 20th Annual American Composers Orchestra Underwood New Music Commission, the American Composers Orchestra Audience Choice Award, the Toru Takemitsu Composition Award, the Alexander Zemlinsky International Composition Competition Prize, the 18th ACL Yoshiro IRINO Memorial Composition Award, the Pacific Symphony’s American Composers Competition Prize, and the Annapolis Charter 300 International Composers Competition Prize. In his native country, Mr. Prangcharoen was recipient of the Silapathorn Award, naming him a “Thailand Contemporary National Artist”. Mr. Prangcharoen has, thus, established an international reputation and is recognized as one of Asia’s leading composers. He has received encouragement and praise from a number of important contemporary composers, such as Paul Chihara, Zhou Long, Augusta Read Thomas, and Yehudi Wyner. John Corigliano has called Prangcharoen’s music “contemporary and accessible,” and Chen Yi has written that it is “colorful and powerful. The press has also recognized Mr. Prangcharoen’s uniqueness as a composer. The Chicago Sun Times called his music “absolutely captivating”, and, of the October 2012 Carnegie Hall debut by the American Composers Orchestra of “Migrations of Lost Souls”, New York Times critic, Corinna da Fonseca-Wollheim wrote, it is “an atmospheric work that weaves some of the spiritual and vernacular sounds of Mr. Prangcharoen’s native Thailand into a skillfully orchestrated tapestry [with] moments of ethereal beauty.” Mr. Prangcharoen’s music has been performed in Asia, America, Australia, and Europe by many renowned ensembles such as the American Composers Orchestra, the Annapolis Symphony Orchestra, the Baltimore Symphony Orchestra, the Bohuslav Martinu Philharmonic, the China Philharmonic Orchestra, the China NCPA Orchestra, the German National Theater Orchestra, the Grant Park Orchestra, the Melbourne Symphony Orchestra, the Minnesota Orchestra, the Nagoya Philharmonic Orchestra, the Oregon Symphony Orchestra, the Pacific Symphony, the Shanghai Philharmonic Orchestra, the Thailand Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, and the Toledo Symphony Orchestra, under many well-known conductors, such Carl St. Clair, Steven D. Davis, Carlos Kalmer, Jose-Luis Novo, Mikhail Pletnev, and Osmo Vänskä. His music has also been presented at many important music festivals and venues, such as the Grant Park Music Festival, the Asia: the 21st Century Orchestra Project, the MoMA Music Festival, the Maverick Concerts: “Music in the Wood”, the Beijing Modern Music Festival, the Lincoln Center, the Library of Congress, the Le Poisson Rouge, and the Carnegie Hall by distinguished performers such as, among others, the New York New Music Ensemble, the Imani Winds, saxophonist John Sampen, and pianist Bennett Lerner.

The Dawn of Darkness for tenor saxophone and fixed media “motion score” The dawn of darkness is my expression during my time of the pain of loss and heartbreak. It was the first time I experienced such a difficult time in my life. I started to compose this piece late at night until the day the sun start to raise, my room start to have more light but in my mind it is still very dark. No matter how bright the sunlight is, if my mind is still very dim, I can’t see any light and hope at all in my vision. I suddenly know that this is something I would like to express in my composition. I start my journey to discover my mind, inner soul and spirit during the process of writing this piece. Main music material it’s also keep raising up but never succeed until the end of the piece that all the music hang in the high pitch and stay until the end of the piece of the piece.

TNMAS Performance 5: Reconnection of Cultures

Emily Koh Emily Koh (b.1986) is a Singaporean composer based in Atlanta, Georgia whose music reimagines everyday experiences by sonically expounding tiny oft-forgotten details, and is characterized by inventive explorations of the intricacies of sound. Her work also explores binary states such as extremes x boundaries, distinguished x ignored, and activity x stagnation, through her unique Teochew and Peranakan Singaporean lens. An amateur multi-disciplinary artist herself, she enjoys collaborating with creatives of other specializations, especially when sound plays a central role in the project. Described as “the future of composing” (The Straits Times, Singapore), Emily is the recipient of awards such as the Copland House Residency Award, Young Artist Award (National Arts Council, Singapore), Yoshiro Irino Memorial Prize (Asian Composers League), ASCAP Morton Gould Young Composer Award, Prix D’Ete (Peabody), PARMA Student Composer Competition, and the Virginia Macagnoni Prize for Innovative Research (University of Georgia). Her work is supported with commissions, grants and fellowships from the Opera America, MacDowell, the Barlow Endowment for Music Composition, New Music USA, American Composers’ Orchestra, National Arts Council (Singapore), Women’s Philharmonic Advocacy, the Paul Abisheganaden Grant for Artistic Excellence (National University of Singapore), and others. Described as “beautifully eerie” (New York Times), and “subtley spicy” (Baltimore Sun), Emily’s music has been performed around the world and is published by Babel Scores (Europe) and Poco Piu Publishing (worldwide). Emily is currently Assistant Professor of Music Composition at the University of Georgia, USA. aphonia (2019) for vocalizing violin and viola

Aphonia is the loss of ability to speak through disease or damage to the larynx or mouth. In this work, the violinist and violist are both asked to vocalize with atypical ‘singing’ techniques such as vocal dry, quasi-voiced whispers, and tongue clicks. These sounds are also imitated in the instrumental colors of the piece using techniques tht obsure the pure tone of the natura linstrument.

Kevin Leomo Kevin Leomo is a Scottish-Filipino composer of experimental music, completing doctoral studies in composition at the University of Glasgow. His practice explores liminality, a state of transition or space of in-betweenness. Kevin interacts with liminality as cross-cultural practice as well as through examining qualities of fragility, quietness, and silence. Kevin’s works have been performed by The Hermes Experiment, Quartetto Maurice, Ensemble Okeanos, Tacet(i) Ensemble, Atlas Ensemble, Trio Abstrakt, Red Note Ensemble, and Psappha Ensemble. His music has been played at impuls Festival, KLANGRAUM, Being Human Festival, Thailand New Music and Arts Symposium, Sound Thought, Oregon Bach Festival, and Sound Festival. Kevin works as a Graduate Teaching Assistant at the University of Glasgow for composition, orchestration, and listening courses. He is passionate about decolonising the curriculum and has delivered education projects for Chamber Music Scotland, Scottish Young Composers Project, and Sound Festival. Kevin runs the experimental music series, Sound Thought, which promotes the research and of postgraduates working in sound. 68

Featured Artists Jason Thorpe Buchanan Jason Thorpe Buchanan is a tri-continentally active American composer, Artistic Director of the [Switch~ Ensemble], Chair of Composition, Theory, and Electroacoustic Music at the College of Music, Mahidol University (Thailand), and 2020 Visiting Lecturer in Composition & Electronic Music at the Butler School of Music, UT Austin. Jason is the recipient of a 2010-11 Fulbright Fellowship (Germany), nomination for the 2015 Gaudeamus Prize, an American-Scandinavian Foundation Grant, two ASCAP Morton Gould Awards (2014 & 2015), the Howard Hanson Orchestral Prize (2014), fellowships and commissions from Royaumont (2016 & 2017), the Mizzou Int’l Composers Festival, MATA, Int’l Horn Society, Eklekto, winner of Iron Composer (2014), 2015 Artist-in-Residence at USF Verftet (Norway), and 2018 AiR at the Embassy of Foreign Artists (Switzerland). Collaborators include Alarm Will Sound, Talea, Interface (DE), Nikel (Israel), EXAUDI (UK), Slagwerk Den Haag (NL), Eklekto (CH), Iktus, wild Up, Eastman Musica Nova, TACETi, and the HKNME. Scenes from his multimedia opera Hunger received performances at Darmstadt, The Industry’s FIRST TAKE, and MATA. He is widely sought as a guest composer at institutions such as the University of Chicago, Stanford University, Sinuston Festival (Germany), YST Conservatory (Singapore), the Bergen Center for Elektronisk Kunst (Norway), and dozens of Universities throughout the United States.

oggetti II (2021) for the TACETi Ensemble and Thailand New Music and Arts Symposium oggetti II (2021) for the TACETi Ensemble and Thailand New Music and Arts Symposium is the second work in a larger cycle exploring concise musical objects, gestures, and formal constellations. Over time, my compositional process has become increasingly introspective and critical—thus, oggetti II is an attempt to re-capture the spirit of my earlier works with a more spontaneous and economical nature. oggetti I (Omaggio a Sciarrino) for wind quintet and antistasis for Ensemble Nikel were composed nearly simultaneously in a 10-day period during the summer of 2014 in NYC. Many concepts and compositional devices are shared, but not musical materials. antistasis, meaning opposition, is a rhetorical term for the repetition of a word or phrase in a different or contrary sense. This was poetically translated through the repetition of a small number of musical gestures, or objects, continually recurring and recontextualized so as to contribute to the composite in different ways. oggetti I and now oggetti II both function in a similar manner, drawing upon extremely limited materials reconfigured in various ways, something like a musical jigsaw puzzle. — Jason Thorpe Buchanan

signs of absence (2021) for flute, clarinet, alto saxophone, two violins, viola, cello Our approach to listening has been shaped by humanity’s incredible and harmful impact on the environment – from noise pollution to the loss of animal and natural sounds. This piece reflects upon this loss and challenges the perception of listeners – both performers and audience – in terms of both sound and time, through a series of sustained and fragile sounds and textures, engaging with surface details of white noise, overtones, and beating patterns. What can be revealed in absence?

TNMAS Performance 6: Collective Minds – Neural Network Anothai Nitibhon Composer / Pianist / Artist, Anothai completed her bachelor degree with 1st class honour from Chulalongkorn University, Thailand, she then continued her studies in the Master programme in Music Composition at the University of Edinburgh under Professor Nigel Osborne in 2002. After graduated with a Master Degree and was awarded a distinction, she was awarded the scholarship from the University and the Overseas Research Students Awards Scheme, and obtain her PhD in Composition in May 2007. Working on a cultural frontier, Anothai bases her musical research on the idea of intercultural and dialogues between cultures, integrating musical languages of a professionally trained, contemporary-style to the folk-based oral tradition and combing together various types of performers including professional musicians, folk-musicians, children and people with no musical background. Her compositions have been performed by the orchestras and ensembles in many countries. She was also regularly invited to be a jury for composition and performance competition both in Thailand and abroad. Alongside her works in composition, Anothai intensively involves in the music community projects and curate many sound installation projects working with artists, architects and designers. Her works involve collaborative works with Dr. Jean- David Caillouët in the multidisciplinary art projects including sound installation ‘Loi Krathong’ for the Goethe Institut’s exhibition ‘Riverscape in Flux’ 2012 Hanoi, Vietnam. She also co-curated many exhibitions such as “Hear Here” sound installation exhibition at the Bangkok Art & Culture Centre and “AS((EAR))N - Sound of ASEAN” at the Museum Siam in 2016.

Anant Narkkong Born in 1965, grew up in several places before settled down in a quiet Bangyikun district along Chaopraya river where he enjoyed art and music environment there. After earning his B.F.A. in Thai Music from Chulalongkorn University in 1989, Anant went to SOAS, University of London for his M.Phil study in Ethnomusicology. His comprehensively journeys in Southeast Asia countries, both mainland and islands made his acquaintance into Musical Cultures of this area. Since 1983, he founded a fusion music group Korphai (means a bunch of Bamboo) which internationally renowned for its excellent rendition of Thai Classical Music as well as Thai Contemporary Music. Throughout the past 30 years, Korphai group has released a number of CD albums and has performed in numerous public concerts in Thailand and aboard. He usually collaborates with Theatre and Dance companies. Recently he plays a role of Music Director at Pattravadi Theatre at Vic HuaHin and has been produced many challenging contemporary theatre projects such as PraLor (2008-11), Wiwah Prasamut (2012) and Rocking Rama (2013). He hosts 3 weekly radio programs in Thai music and World music at the Parliament Radio Broadcasting Station as well as Khonmuang Radio online. Anant writes and publishes a large number of articles in Musicology - Cultural Anthropology area for newspaper and monthly magazines. At present he works at the Faculty of Music, Silpakorn University as a full-time lecturer in Ethnomusicology, World Music, and Composition subjects.

Christopher Adler

Featured Artists Rebreath for Khaen and 12 instruments by AnoThai Nitibhon and Anant Narkkong This new work is commissioned by Thailand New Music and Arts Symposium 2021, as a collaborative piece with Prof. Christopher Adler, Anant Narkkong, PGVIM musicians and Tacet(i) Ensemble. It is impossible to compose a Khaen piece for Christopher Adler better than Christopher Adler himself, even if you’re Thai. It is ironic, but it’s true. Therefore, this musical experiment will be an attempt to reconnect with the sound of my own tradition, together with the other 12 musicians, who will be relearning their breath and creating their own sound.

Jiradej Setabundhu Jiradej Setabundhu studied music with Bruce Gaston at Chulalongkorn University, Thailand and worked as a guitarist and composer with the Fong Nam Ensemble. He attended the University of Southern California for his MM degree and studied with composer Donald Crockett. He received his doctoral degree in Composition from Northwestern University. His teachers include M. William Karlins, Marta Ptaszynska, Amnon Wolman, Michael Pisaro and Stephen Syverud. Jiradej has been the recipient of the Michael Mason Scholarship, the NSCO Composers Award, the William T. Faricy Composition Award, the Yoshiro Irino Prize and the Composers Guild Award. His composition has been performed in Italy, Japan, Poland, Slovenia, Thailand, and the United States. Currently he is a composition faculty at the Conservatory of Music, Rangsit University, Thailand. Dr. Jiradej Setabundhu (co-ordinator) Lecturer: Faculty of Fine & Applied Arts, Chulalongkorn University Associate Dean for Academic Affairs & Research: Conservatory of Music, Rangsit University Associate Dean for Academic Affairs: College of Music, Mahidol University Part-Time Lecturer: School of Music, Northwestern University, USA Composer/guitarist: Fong Nam Music Ensemble NSCO Composers Award; William T. Faricy Composition Award; Yoshiro Irino Prize; Composers Guild Award; 2nd prize, Southeast Asia Guitar Competition; 1st prize, Thailand Yamaha Guitar Competition Concerts in China, Italy, Japan, Malaysia, Poland, Slovenia and the United States Doctor of Music (Composition): Northwestern University, USA Master of Music (Composition): University of Southern California, USA Bachelor of Fine and Applied Arts (Classical Guitar): Chulalongkorn University. Sailing to Byzantium Jiradej and Prinda Setabundhu. We first encountered Yeats’ wonderful poem in an unexpected source—a 1986 science fiction novella of the same name by Robert Silverberg, who used a few lines from the poem as an inspiration to create a story of a far-future, oceanic world where man has conquered death, literally. This work is influenced by both the original poem and the story. Yeats’ Sailing is juxtaposed with selected passages from Coleridge’s The Rime of the Ancient Mariner to portray an old man’s journey from the land of youth to the mythical Byzantium in seek of the sages who could make him immortal. The piece attempts to capture the atmosphere of sitting around a campfire late at night by the sea, listening to a longshoreman with a story to tell. Special thanks to Bennett Lerner for his “realization” of the poems. 71 .

TNMAS Performance 6: Collective Minds – Neural Network

Tacet(i) plays ฆ้อง ราว ท่อ (ฆ. ร. ท.) / Collective of Resonation This project’s goal is to create a sonic network and an interactive experience using technology, performativity, and theatricality. These elements are created using three major materials: 1) Gongs, 2) Metals, and 3) Tubes are the three types of materials. These three materials have a common perspective, which is “resonance.” The prepared gongs provide reverberation of multiple frequencies that were developed with ultrasonic sensors to generate amplitude and timbre complexity. A metal-Buzzwire installation is created to correspond with other resonators (gongs and tubes) by performing the slide trombone’s gesture and buzzing texture in order to create sonic ambiguity between analog instruments (trombone, contact microphones) and digital electronics (electrical current signal and digital processing). Linking with tubes, without any electronics modification, the use of tubes is focusing on a combination of acoustic sounds and spinning gestures, which creates motion of sounds and behaviors through human physical gestures and theatricality. Nonetheless, the tube sounds correspond to resonations created with gongs and metals by experimenting with physical gestures under various conditions such as spinning speed, performer breaths, and space acoustics. With these three materials, the work expands on the idea of resonation, which is explored through various types of materials, resulting in a large environment of sonic phenomena. According to the concept of “collective,” we intend to combine our various ideas to create a single work that is not focused on the composition’s authorship, but rather aims for moments of exchange and sharing during our collaboration and performance. This project is a collective collaboration between Siravith Kongbandalsuk, Thanapat Ogaslert, and Piyawat Louilarpprasert, performed by Tacet(i) Ensemble.

Collective Concept by Thanapat Ogaslert, Electric gongs Thanapat’s first encounter with classical music performance was back in the period of middle and high school. He performed as a band percussionist for the Assumption College band for 6 years. Alongside classical music education, he also explores the art of media and communication which he has further studied in Mahidol University International College. Thanapat was one of the top students of Dr.Jack Picone, a several award-winning and renowned documentary photographer. In the past 2 years, Thanapat has been highly active in electronic music and new music. Thanapat continues to create multimedia art as a synthesis artist by joining the multimedia-electro performing group, The Face Shield band with Dr. Piyawat Louilarpprasert and Mr. Rittichut Phetmunin. His electronic music and sound artwork amalgamate elements between visual art, computerization, analog technology and sound-visual integration in order to explore the body and structure of the composition. At present he works at the Faculty of Music, Silpakorn University as a full-time lecturer in Ethnomusicology, World Music, and Composition subjects.

Siravith Kongbandalsuk, Metal design

Piyawat Louilarpprasert, Tubes maker

Staff Members Management Team

Kantika Comenaphatt (Manager) Pisol Manatchinapisit Thanakarn Schofield

Sound Technician SB Sound System

Camera and Broadcast Wanna Film

Photographer

Poom Chirawattanarangsri

Stage Team

Tirapong Kiewnin (Manager) Tanasap Chindathip Wasawat Phayakkakul

Staff

Termpong Jaiem Patidta Atiwattananggoon Jiraphan Khaokum Patvira Kiratichiyingyos