IntAct 2022: New Act, Vocality and Transmutation

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22ND OF DECEMBER 13.00 - 15.00 International Composition Institute of Thailand (ICIT) Concert
23RD OF DECEMBER 10.00 - 12.00 Registration/Exhibition 10.00 -
Artist Presentation by John Eagle 12.00 - 13.00 Performance 1: Young Artist Commissions 14.00 -
Performance 2: Voicing, Chiming, Resonating
24TH OF DECEMBER 10.00 -
Registration/Exhibition 11.00 -
Performance 3: Mirroring, Speaking, Intermediating 14.00 -
Performance 4: Necromancy for Beginners
Performance 5: Sounds, Tradition, Transmutation featuring Swiss Artists and Composers SUNDAY 25 TH OF DECEMBER
Registration/Exhibition 10.00
Forum 1: New Act, Vocality and Transmutation 11.00 -
Forum 2: Necromancy for Beginners 13.00
Performance 6: Trance, Mystery, Dramaturgy 15.00
Performance 7: Necromancy for Beginners
ICIT Award Ceremony and Closing Ceremony
- 11.00
- 14.00
- 16.00
16.00 - 17.00



Thailand Music and Art Organisation (TMAO) have been pursuing new horizons in delivering a fresh experience with diversity to artist communities through the format of a festival under the name Thailand New Music and Arts Symposium (TNMAS). Over the past three years, TNMAS has successfully achieved its objective by offering new ideas/conceptions, establishing a new music and arts society in Thailand, and presenting over 200 works in collaboration with local and international artists, composers, and musicians from a variety of disciplines under the themes “Beyond Boundaries,” “Human, Technology, and Simulation,” and “Hybrid World, Cultural Reconnection.”

As a succession to the TNMAS, TMAO proudly presents the first “IntAct festival” with the utmost ambition and aspiration to broaden music and art boundaries and reach new heights of artistic curation, as well as initiate a global artist network, and ensure cultural/social/ gender diversity, equality and inclusion. The IntAct festival strives to be a global platform for supporting intellectuality, promoting intercultural, stimulating interdisciplinary practices through international collaboration, and ultimately encouraging new action in experimenting, developing and progressing art and music movements.

IntAct 2022, “New act: vocality and transmutation,” features a wide variety of works by local and international artists who investigated the unique qualities and redefined the concept and meaning of the voice, as well as observing and exploring mutations of sounds and cultures that will lead to significant movements in creating new acts of music and arts on a global scale.

Noppakorn Auesirinucroch is a guitarist and interactive performer whose work integrates music and sound studies with approaches from interdisciplinary art, multisensory perception, cross-modality, and multimedia.

Over the past years, Noppakorn dedicated himself to advocating a new music community in Thailand and abroad by collaborating with a large number of local and international artists, performers and music-makers. He has been actively presenting music and interdisciplinary performances in festivals and collaborations including the Cornell Biennials 2022 (New York), Peabody Composer’s Reading 2022 (Baltimore), City University of New York (CUNY) Composer’s Reading 2022 (New York), Enkhuizen Gitaar Festival 2016 (Netherlands), Dutch radio “Omroep West” Nieuwe Kerk 2016 (Hague), Concert “New Music for Saxophone, Guitar and Sho” 2018 (Amsterdam), Tesselat Composers’ Collective Project 2019 (Tokyo), IntAct Festival 2019-22 (Bangkok), “Theatrical Strings” Project at Onondaga Community College (Syracuse), Human and Machine Project (USA), Princess Galyani Vadhana Music Symposium (Bangkok), and many more. As a guitarist, Noppakorn has performed in festivals and has been awarded in competitions including Thailand International Guitar Competition, Asia International Guitar Festival, Indonesia International Guitar Festival, Tarrega International Guitar Festival and among others.

His current research, “Innovative Practice of Enhancing Musical Perception”, in collaboration with Charles Michel, a former chef in residence at Oxford University’s Experimental Psychology Department, was highly recognized and selected for publication in the Netherlands Research Catalogue. The research is focusing on designing multisensory performance with an emphasis on sound-taste associations and crossmodal correspondences—a review on the process of creating a flavour musical piece for solo guitar in collaboration with a prominent Thai composer, Piyawat Louilarpprasert, has been elaborated.

He obtained his BMus and MMus degrees with the absolute highest distinction in classical guitar performance from the Koninklijk Conservatorium in The Hague, Netherlands, under the instruction of Enno Voorhorst and Zoran Dukic. Noppakorn had studied with prominent artists, including Roland Dyens, Costas Cotsiolis, Raphaella Smiths, Xuefei Yang, Aniello Desiderio and Duo Melis.

Noppakorn is currently serving as a director of Tacet(i), Southeast Asia’s leading new music ensemble, and an artistic director of the IntAct Festival 2021-22.


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 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: Cornell Biennial by Cornell Council for the Arts, Asian Composer League, Kultur Kontakt Austria, Tokyo Media Interaction, Thailand International Composition festival and Thailand New Music and Arts Symposium.

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. Currently, Siravith is a full-time lecturer at the Princess Galyani Vadhana Institute of Music (PGVIM) in Bangkok.


“Young and Gifted, Meet the rebel Thai composer taking music to unheard heights”

(CNN News Worlds Report, Karla Cripps)

Originally from Bangkok, Piyawat Louilarpprasert is a composer/artist who works interweave of composition, visual art and technology. Piyawat has been awarded commissions and prizes including Fromm Foundation Commission, Harvard University (USA), International Coproduction Fund (IKF)—Goethe Institut, ISCM/Asian Composer League Prize 2022 (New Zealand), Donaueschingen Musiktage (Germany), Südwestrundfunk (SWR) Experimental Studio (Freiburg), MATA Festival (New York), Mizzou Composer Festival (Missouri), Lucerne Festival (Switzerland), Gaudeamus (Netherlands), ASCAP Morton Gould Young Composer Award 2018-20-21 (USA), Pro Helvetia (Switzerland), British Council (UK), Japan Foundation (Japan), Sergei Slonimsky Award (Russia), Matan Givol Prize (Israel), NUNC (Chicago), Otto R. Stahl Memorial Award (USA), Léon Goossens Prize (UK). In 2017, he was a composer in residence at KulturKontakt 2017 (AIR), Vienna, offered by the Austrian Federal Chancellery Austria. In 2019, his “Smelly Tubes” was featured in CNN News World: “Young and Gifted”. His recent work, “Ohm-Na-Mo” was commissioned by Donaueschinger Musiktage for 100 years celebration.


As an educator, he was awarded the Don Michael Randel

conduct his new music course: P.I.Y. (Perform it Yourself) at Cornell University, Ithaca where he obtained his D.M.A. in music composition. He also holds M.M. in composition at Royal College of Music, London, B.M. in composition and conducting at College of Music, Mahidol University. His major teachers are Valeriy Rizayev, Dai Fujikura, Kevin Ernste and Marianthi Papalexandri Alexandri. Piyawat is currently holding a position of Visiting Lecturer in Music at Cornell University.

More info:

worked with groups: Tacet(i), Arditti, Alarm Will Sound, [Switch~ Ensemble] Berlin Philharmonic Horn Section, International Contemporary Ensemble, Mozaik, Platypus, Meitar, Wet Ink, Lucerne Alumni, Omnibus, Orkest Ereprijs, Vertixe Sonora, Royal Northern Sinfonia, Princess Galyani Vadhana Youth Orchestra, Thailand Philharmonic Orchestra, Aguascalientes Symphony Orchestra, American Composer Orchestra etc. Research Fellowship 2021-22 to


Thailand Music and Arts Organization (TMAO) is non-profit/international assembly that 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 2020-22 (Japan-Thailand), New Orient

Call for Scores 2020 (Thailand and Online), British Council Grant: Connecting through Cultures 2021 (United Kingdom and Online), Cornell Biennial of Arts 2022 (USA), Pro Helvetia Grants (Switzerland) 2020-22 and many more.

Recently, the organization initiated the first annual Thailand New Music and Arts Symposium (TNMAS) which focuses on the diversity of ethnicity, society and culture where the definition of “new art”, possibly, can convey to people the new contexts of artistic language, purpose and spirit without separating the identity of disciplinary. The previous series of the symposium were included: TNMAS 2019: “Beyond Boundaries”, TNMAS 2020: Human, Technology, Simulation. The symposium has been receiving true achievement with promising evidence.

In 2021, with the theme Hybrid World, Cultural Reconnection, the festival received over 2,000 audience numbers with over 70 works of arts, music and performance that were exhibited. Targeting a wider international and global community, the festival has been renamed as “IntAct” since 2022 for the new curation, “New Act, Vocality and Transmutation”.



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).



Phataporn Preechanon Flute

Christhatai Paksamai Clarinet

Pisol Manatchinapisit Conductor and Saxophone

Siravith Kongbandalsuk Trombone

Sakda Pharchumcharna Tuba

Saksilpa Srisukson Violin

Natapat Pisutwong Violin

Tapanatt Kiatpaibulkit Viola

Kantika Comenaphatt Cello

Kerksakul Jaree Keyboard

Kantapong Rakbankerd Percussion

Worrapat Yansupap Guitar

Noppakorn Auesirinucroch Guitar

Thanapat Ogaslert Electronic

Piyawat Louilarpprasert Conductor and Electronic




Lien Boon Hua is the Artistic Director of Wayfarer Sinfonietta and former Assistant Conductor of the Polish National Radio Symphony Orchestra in Katowice. He is on the conducting faculty at the Yong Siew Toh Conservatory of Music in Singapore and leads its contemporary music ensemble, OpusNovus. He was selected to be on the 2019/20 Peter Eötvös Foundation Mentoring Program and also served as Assistant Conductor to the Richard-Strauss-Festival 2018 in Garmisch-Partenkirchen.

Highlights of Lien’s recent seasons include a celebratory concert with the Singapore Symphony Orchestra for Esplanade’s 20 th anniversary, and debuts with Hong Kong Sinfonietta, Jakarta Simfonia Orchestra, NFM Wrocław Philharmonic, Polish Baltic Philharmonic, Kraków Philharmonic and Transylvania State Philharmonic Orchestra. A rising opera conductor, he has led productions of operas by Britten, Rossini, Mozart and Salieri with Singapore Lyric Opera, The Opera People and Lirica Arts. He has appeared at the Singapore International Festival of Arts, Gdańsk Music Festival and International Mozartiana Festival, and received numerous invitations to participate at international conducting competitions around the world. Outside of his professional engagements, Lien is also a staunch advocate of music education and has conducted youth groups such as the Singapore National Youth Chinese Orchestra, Princess Galyani Institute of Music Youth Orchestra and Orchestra of the Music Makers. Lien has participated in masterclasses at prominent festivals with distinguished conductors, such as Bernard Haitink at the Lucerne Easter Festival, Paavo Järvi at the Pärnu Music Festival, Marin Alsop and Cristian Măcelaru at the Cabrillo Festival of Contemporary Music, and Stefan Asbury at the Tanglewood Music Festival. He was twice invited to masterclasses with Seoul Philharmonic Orchestra where he received guidance from Osmo Vänskä, Markus Stenz and Thierry Fischer, and was named an inaugural Mahler Conducting Fellow for the Colorado MahlerFest XXIX. Currently based in Singapore, Lien received his doctorate in orchestral conducting at the Eastman School of Music where he studied with Neil Varon and was awarded the Walter Hagen Conducting Prize for his outstanding achievements. He holds conducting and performance degrees from the University of Cincinnati CollegeConservatory of Music and Yong Siew Toh Conservatory of Music, with additional studies at the Peabody Conservatory of Music.




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 Thailand, Canada, Finland, Czech Republic, Japan, Russia, France, North America, and across 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.

Pollen, Blood, and Seaspray

This work is a response to the musings of Stephen Dedalus as he wanders along Dumhach Thrá in Proteus, the third chapter of James Joyce’s Ulysses. For the spoken text I commissioned Scottish poet Euan Tait to reflect on this scene in poetic prose. Euan’s narrative imagines Stephen emerging from the sea as an angelic being who observes a series of human situations from his higher vantage point. The music weaved around the text seeks to evoke the sounds of Stephen’s environment: the electronics progressing through the sound qualities of different materials (wood, glass, metal) likely to be littered on the shore, and the accordion occupying a more interactive role with the text as Stephen exercises his creative force on the landscape around him. This work was commissioned by the Contemporary Music Centre Ireland in celebration of the 100th anniversary of Ulysses’ publication.



Tim Reed was born in May of 1976 weighing 11 pounds and 9 ounces. During the following fifteen years, his weight steadily increased, reaching approximately 170 pounds in 1991. Tim’s height also increased during this time, reaching 6 feet and 4 inches in 1991. Between 1991 and 2007 his height remained steady at 6 feet and 4 inches while his weight fluctuated between 165 and 210 pounds. Tim is currently 6 feet and 4 inches in height and weighs 184 pounds (June 2022). Tim is Professor of Music Theory/Composition at Manchester University (Indiana) and holds degrees from the University of Florida, Illinois State University and LaGrange College.

In each of us exists a land, inhabited by bits of memories, real or imaginary, the shadowy sense of longing...something lost that we maybe never had.


His work revolves around research processes and combination of experimental video and Experimental music. He has studied Composition, Electroacoustic Composition and Sound Engineering He is interested in programming languages applied to audio and video. He has won 12 prizes for his works in some international composition and video competitions (Italy, Chile, Bulgaria, Canada, Usa, India, Portugal, England). Concerts and academic presentations in over 90 countries. Some of his articles were published by Università di Venezia; Cambridge Scholars Publishing; Yonsei University; Plymouth University; TU Berlin; Universitat der Kunst Berlin; Università di Torino.

...the land that happened inside us...

AOU - Atlas of Uncertainty

Atlas of Uncertainty is an experimental music video based on the representation of 4 Classical elements, that typically refer to the concepts in Ancient Greece of water, fire, earth and aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances.The music that accompanies this computer generated video is a sonic continuum ranging from unaltered natural sounds to entirely new sounds - or, more poetically -- from the real world to the realm of the imagination.


Marco Dibeltulu (Alghero, 1971) studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music (with Francesco Giomi, Sylviane Sapir and Elio Martusciello). He also graduated in Music Didactics at the Conservatory of Sassari. He teaches Musical Technologies at the Liceo Musicale “D. A. Azuni” of Sassari. His compositions have been selected in many competitions as 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006, 2015 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; 360 degrees of 60x60 – Vox Novus, New York City; ICMC 2012 – Ljubljana; EMUFest 2012 - Rome; NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival; MA/IN 2017 - MAtera INtermedia Festival – Matera. He performed at Festivals: Synthèse – Bourges; Biennale di Venezia on-line; Contemporary Art Fair – Shanghai; Rifiuti preziosi – Palazzo Strozzi, Florence; ArteScienza 2006 – Rome; Zeppelin 2008 – Barcelona; Primavera en La Habana 2008; CONCERTS DE BRUITS: PIERRE SCHAEFFER 1948-2008 – Centro Tempo Reale, Florence; Audio Art Circus 2008 – University of Arts, Osaka; Raum-Musik – Musiksaal, University of Cologne; 60x60 Dance – Theatre Square, London; 60x60 Video - Audiograft – Oxford Brookes University, Oxford; Urban soundscapes - intervening in/composing with –Wien; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal; Audio Art 2021 (CIME Concert) – Kraków.


La Parola agli Artisti

The composition comes from the sound recordings made during the inauguration of the exhibition La Parola agli Artisti (Sassari 2006). The theme of the event concerned criticism and art. Visitors have become occasional critics, but also “actors” of the composition. In the introduction the stamps obtained from the processing of the recorded sounds precede items. The verbal sense is not yet understood, then other voices burst and create a counterpoint much more clear in meaning. The composition emphasizes the independence of the creative act from the critical judgment.


Steven (“S.”) Whiteley (they) is a San Diego-based composer, experimental media artist, multi-instrumentalist, & sound artist, working primarily with electronics and in transdisciplinary idioms. They are interested in post-humanism and embodiment, the mutability of the real, and the liminal space existing between the cyberbody and biobody when human beings engage with the virtual. They have performed extensively as a multi- instrumentalist and have toured Europe, the UK, Canada, and the US with various bands and collaborations, and have had their music featured on publications like Pitchfork, The Wire, and Tricycle Magazine. Their compositions have been performed at such conferences and festivals as: the MATA Festival in New York, Internationales Musikinstitut Darmstadt OPEN SPACE in Darmstadt, Germany, Festival di Nuovo Consonanza in Rome, Italy, Dublin Music Current Festival in Dublin, Ireland, WOCMAT 關 International Conference on Computer Music & Audio Technology in Hsinchu, Taiwan, MA/IN Matera Intermedia Festival (received Honorary Mention Award) in Matera, Italy, Mise En Music Festival in New York, Echofluxx 18 in Prague, Czech Republic, and others. S was a visiting composer at the Music & Erotics Conference in Pittsburgh, PA, and composer-in-residence at I-Park Inc. in East Haddam, CT, the Dublin Sound Lab, and the Labo de Musique Contemporaine de Montréal (LMCM). Their work, creative practice, and Deep Listening practice is heavily informed by the two years they spent studying Buddhism and practicing meditation intensively in residential monastic retreat at several different Zen Buddhist Monasteries in Oregon, the Bay Area, and New Mexico. They completed their Bachelor of Music Degree from McGill University in Montréal, where they studied with Melissa Hui and


Philippe Leroux, and are currently a PhD student in Composition at UC San Diego, studying with Marcos Balter.

\ \^ \^\V\ \>\ \< \>\

*This audio/video piece is meant to be played on loop in a gallery space with stereophonic or quadraphonic sound.* \ \^ \^\V\ \>\ \< \>\ straddles the liminal space where consciousness resides in limbo between the cyberbody and the biobody following a time of absorption in virtual reality. This state is known as “alternative world disorder”: a state of “perceptual nausea” and an “acute form of body amnesia,” which can lead to the “rupture of the kinaesthetic from the visual senses of self-identity... a lag occurring between the virtual body and the biological body” (Michael Heim). Suspended in this space between the virtual and physical, it is unclear as to whether this is a state of paralysis and dissociation or a transcendence of the body-mind. The cognitive responses and processes ingrained in the virtual world step out of synch with those of the physical world–thus we find the human being merging, yet still being out of phase, with the machine.


Born and raised in Hong Kong, Pak Hei (Alvin) Leung’s compositions have been played in the U.S., Italy, Japan, Taiwan and Hong Kong by music groups including Transient Canvas, the Rhythm Method String Quartet, Rosetta Contemporary Ensemble, Duo Zonda, Trio Mythos, Resonance, Stellar Trio, Music-Joint Association, Hong Kong Wind Kamerata, Hong Kong Chinese Orchestra, Contrast Trio, Hong Kong Saxophone Ensemble and Romer String Quartet. His recent works are featured in EMM 2022, ICMC 2021, SCI National Conference 2021, NSEME 2021, Longy’s Divergent Studio 2021, Hong Kong Contemporary Music Festival 2020&2021, Hong Kong Chinese Orchestra Net Festival, SCI Summer 2020 Student Mixtape, Charlotte New Music Festival 2020 and others. Alvin is currently a PhD student in Music with a concentration in composition at the University of North Texas. He received a Master of Music degree at Bowling Green State University, and a Bachelor of Arts in Music from the Chinese University of Hong Kong (CUHK). His principal teachers include Panayiotis Kokoras, Marilyn Shrude, Christopher Dietz, Mikel Kuehn, Wendy Wan-ki Lee, Victor Wai-kwong Chan, Hau-man Lo and Ricky Tse.



Christine Drake-Thomas is an interdisciplinary artist working in video, AR, wearable textiles, and digital prints. She received her B.F.A. in Studio Art and English Literature from the University of California, San Diego in 2019 and her M.F.A. in New Media from the University of North Texas in 2022. Her work scrutinizes how surveillance capitalism is pervasive within our everyday lives: turning every movement, emotion, or thought into a commodity to be turned into an ad for us. She satirizes data collection, extraction, and commodification through an accumulation of her user information from large tech companies.

Trans-Crypted Memory: A Transhumanist Techno-Pop Opera

Trans-Crypted Memory: A Transhumanist Techno-Pop Opera utilizes open-source Artificial Intelligence programs to generate the lyrical backbone of the work. The piece is in two acts that travel through time from the watery primordial beginnings of cyborgs to a period of modernist Romanticism to a speculative cyborgian future. This is musically explored by an interplay between AI-generated materials and human creativity. The symbiotic relationship between AI and human creatives suggest transhumanism’s advocation for humanity to conjoin with technology to reach the next phase of human cognition and evolution. This work is a collaboration between composer Pak Hei (Alvin) Leung and visual artist Christine DrakeThomas, with contributions from Marcel Castro- Lima and Victor Machin.



Robert B. Lisek is an artist, mathematician and composer who focuses on systems, networks and processes (computational, biological, social). He is involved in a number of projects focused on media art, creative storytelling and interactive art. Drawing upon post- conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on Artificial Intelligence and Machine Learning. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise. Lisek is also a scientist who conducts research in the area of foundations of science (mathematics and computer science). His research interests are category theory and high-order algebra in relation to artificial general intelligence. Lisek is a founder of Fundamental Research Lab and ACCESS Art Symposium.


The project proposes neural network (Neural Ordinary Differential Equations) for sound and video synthesis. My method provides a simple and intuitive way to construct new objects and new types of synthesis by manipulating matrices and maps. Differential equations are the fundamental language of all physical law. Dynamic laws are differential equations relating to operators and functions common to a wide variety of patterns of motion, e.g. oscillators, elastic fluid or gases.


Serge Bulat is a Moldovan-American multidisciplinary artist who has been contributing to both European and American scenes, exploring various mediums: from music and visuals to radio and theater productions. Artists’ most notable works are “Queuelbum” (IMA award for Best Electronic Album), the immersive video game “Wurroom”, and the audiovisual installations included in conferences such as Technarte, NYCEMF, Convergence, and New Mimesis. Recent artistic activities comprise the release of the multi-format albums “Wurmenai”,


“Similarities Between Fish And A Chair” (a collaboration with artists from 10 countries), and the score for the experimental game “Isolomus”. Bulat’s ongoing project ‘Inkblot’, presented at selected festivals was recently published in the scientific journal Vortex.


“Normality” dares to question our definition of normality. Delivered by the means of interpretive sound design, visuals, and spoken word, its’ goal is creating space for a rise of the new formula. Following the Rorschach test principle, it invites the audience’s interpretation. What is your definition of normality? Is your formula influenced by the current experience of the environment? “I strongly disagree with the definition of “normal” and hope that my project will broaden the understanding of individuality, identity; embracing differences, and treating them as advantages and not faults” - Serge Bulat.


Eddie Borbon is a digital artist, steam educator and computer music researcher, master student in Digital Art at Far Eastern Federal University DVFU - Russia, PhD student in musical composition at the National Autonomous University of Mexico, magister in musical composition with new technologies at the International University of Rioja and bachelor in musical arts at the Universidad Distrital Francisco José de Caldas - Colombia. Eddie Borbón researches the applications of artificial intelligence in the arts, has published articles related to the applications of computer science in music composition and digital art; specifically the modeling of harmonic spaces through graph theory and its application in algorithmic composition and evolutionary electronics. His work also investigates and explores the concept of artificial life by creating virtual ecosystems oriented to the artificial life art discipline.

Digital Insects

Digital Insects is a research and artistic creation project that seeks to generate reflections on the relationships that can be created between digital art and nature, in this case the study of insects (entomology). This artistic project seeks through the use and experimentation with


computer programming to create possible or impossible worlds, animated creatures with real behaviors (virtual creatures), living or “semi-living” organisms, artificial ecosystems, new and hybrid life forms created by artificial and/or technological means. Bichos digitales invites us to rethink the concept of life, to answer questions such as: What is artificial life? - Who defines life? - Can life exist in a machine? What creative possibilities do bio-inspired models offer us? This artistic project was carried out in the year 2021 in Colombia under the tutelage of the digital artist Eddie Borbon, who guided the creation and programming of different digital insects in the programming language p5. js programming language, in this project the participants had the opportunity to know the different applications and artistic works that are based on the concept of artificial ecosystem, understand the morphology of the captured insects, understand the different mechanisms of locomotion in insects, abstract the mechanisms of locomotion in virtual insects, understand the set of physiological functions of insects in their reproduction, implement in a computer simulation processes of reproduction in digitally created insects.


Minato Sakamoto is a Japanese composer, pianist, and improviser from Osaka. Ranging from classical concert music to electronic music with heavy uses of computational technologies, his compositions practice the unserious seriously, fuse spontaneous and organic qualities, and demonstrate a clear connection to the past. His works have been featured across the United States, East Asia, and Europe in both traditional concert settings and internationally acclaimed conferences. Minato is currently a Ph.D. candidate at Duke University, where he is also completing the graduate certificate in Information Science + Studies. He previously studied at Amherst College and graduated summa cum laude in 2018. Minato has served as a guest artist at Boston New Music Initiative since 2020. Minato is a Japanese chess lover and an Accredited Meteorologist of Japan Meteorological Agency. As a railway addict, Minato constantly wastes his time to explore unique railways in the world. For more info, please visit:


Cooking Fields (2021)

Cooking Fields (2021) is a computer system for the real-time improvisation of any soundscape. It enables the performer to synthesize and live-sample sounds from the field. As a performer, one places oneself in the creative limitation of composing only with the sonic materials along the chronological order of events. The consequent music reflects the appreciation and honor of the performer toward the sonic sensibilities of the field. In this composition, every element of music, such as pitch, rhythm, form, timbre, dynamics, harmony, and melody, is defined by the character of the field.

If an improvisation depends on sonic chronology, what would give it a sense of musical form and thematic unity? I found Japanese urban train stations musically attractive. Published timetables allowed me to learn what type of trains arrive at what time. I could predict the level of sonic density and sounds from rolling stocks (e.g., monitor and horn) at every moment. At the same time, my expectations may not always be realized, because trains may run a few seconds earlier or later than scheduled. This half-predictable, halfunpredictable nature is the key for a successful improvisation.

I recorded an improvisation at Tanigami Railway Station, Kobe, Japan in August 2021 and completed the post-production in September. I identified a moment in the morning (7:35 AM) when all the platforms were filled with trains nearly at the same moment. I practiced my improvisation in a manner that rendered this moment a musical climax. All the sonic materials in this improvisation have practical purposes, whether a “Mendelssohn” chime to notify train arrivals or train motors to run rolling stocks as efficiently as possible. I love the beauty that naturally emerges from such practicality. Enjoy my sonic cooking.



Pao Chutijirawong worked in multidisciplinary practice working in conversation with new media. Her artistic practice focuses on the relationship between a work of art, the gesture it produces, and its lifespan to the mundane experience. A constant shift in habitation prompted her to investigate the construction of memory in relation to ownership and time. Particularly, the erasure of visually indexical mark-makings that is re-enacted through other senses of perception. While pursuing an undergraduate degree in Fine Arts, she was an artist-inresidence at The Hambidge Center and a participant in Yale Norfolk Summer residency 2022.

Daily Dose (2022)

A collection of recordings of grandma’s daily life, along with the conversation with her granddaughter about a set of medicines she is taking on daily basis.

An ordinary life going on smoothly by taking one pill each day.

Through the concept of ‘daily’, from paper calendar to medicine and routine, the work touched upon the notion of life as an ephemeral moment which is now visible in the form of human’s time. It is the reflection towards the contemporary life of a human being, especially in the presence of pandemic in 2020.



NUUM is a collective of multidisciplinary artists committed to bringing multiple forms together into a total work of art. We work across a broad range of forms including movement, sound, text, visual art and coded rules of interaction. We examine each form through the lens of an adjacent one by asking some basic questions about sensing and cognition. What do we (not) see? What’s real? What’s manufactured? What is after-taste? How does movement define space? How does stillness define movement? How does language subvert our senses? How do participation and choice craft a narrative that holds the audience in a tighter embrace? NUUM is NiNi Dongnier, Tiri Kananuruk, Nuntinee Tansrisakul, Mimi Yin and Yuguang (YG) Zhang. Our work has been supported by La Mama | Culture Hub, MOCO: Movement & Computing, The Movement Lab at Barnard College, MANA Contemporary, MaxMachina and NY Live Arts, The Center for Ballet and The Arts, the A4 Museum in Chengdu, China, VENTSpace Gallery in Tallinn, Estonia, The National Endowment for the Arts and the The NYU Catalyst Prize for Research among others. @nuumcollective on Instagram

Walking Mass

Walking Mass is a mass-scale participatory performance led by an instructive and narrative voice. Participants walk with individualistic intent whilst inadvertently creating a collective form. The choreography of the walk is a metaphor for the varied forms of collective decision making practiced in democracies of all shapes and sizes. In juxtaposition of the participants’ first-person’s experience, the performance is live- streamed with an objective view, a drone camera 200 feet above ground, allowing a larger audience to view the choreography as a whole while eavesdropping on the voice. A computer vision based system is deployed to analyze the movements of participants in the drone footage and steer the progression of the instructive narrative accordingly.




13.00 - 15.00 International Composition Institute of Thailand (ICIT) Concert

Paulo Brito

Zi Tao Chua

Shadow Steps for Alto Flute Solo

Composition for an Electric Ensemble

Manjing Zhang Vicissitudes for Ensemble

Irene Tanuwidjaja Disconnect III for Ensemble

Yayi Wira Pamungkas

Kostas Zisimopoulos

Ethan Resnik

Dopplering DIY for Alto Saxophone, Trombone, Electric Guitar, Keyboard, Violoncello, and Electronics

Interruptions for Ensemble

Lighthearted Allusions for Ensemble

Kyle Rivera Seraphim for Quintet

Evan Lawson

Runzhi Zhong

Joel Frederick Kirk

Echoes from the Labyrinth for flute, clarinet, violin, viola, and cello

Frozen TIme for alto flute, bass clarinet, percussion, violin, cello, and keyboard

Calendar of murmurs for Septet

Filippo Lepre Strappi Svelano Scorci for Septet




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.

Anothai is now a vice president for Academic and Research, Princess Galyani Vadhana Institute of Music, and also active as curator and composer of different genres ranging from contemporary pieces to children’s opera. In this concert, Anothai will be exploring different colours and times underlying the virtuosic melodies of violin in Chausson, Sinding and Messiaen.



Eleni Ralli (Greece/Switzerland) 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, 2021) and Bern University (2018) and a PhD degree in Composition from Aristotle University of Thessaloniki (2022). Currently, she is proceeding with her second PhD in Musicology (Bern University). Her research topic is the American composer, Harry Partch (1901-1974).

She has presented her ongoing research in festivals such as Fermentationstage Basel (January 2015), International Society for Ekmelic Music “Small is Beautiful” (Salzburg, 2017, 2019, 2021), IGNM Basel (May, 2018) and GMTH (Basel, 2021). Among her papers are: “Harry Partch”, KDG (Komponisten der Gegenwart) Lexicon Article (2021), “Parallelen und Modifikationen der Notation in verschiedenen Quellen von Harry Partchs Seventeen Lyrics by Li Po. Schwierigkeiten und Transkriptionsvorschläge”, Der doppelte Po und die Musik. Chinesisch-rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po (2021), “Harry Partch’s Enigmatic Musical Notation”, HKB Zeitung, (2020) and “On the benefit of renotating Harry Partch’s Music for understanding and analyzing his harmonic language”, Microtöne-Microtones: Small is beautiful, Volume II (2019).

As a composer, she has won many prizes, 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, Spain, Ukraine, Switzerland, Greece, 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.



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 explores binary states such as extremities/boundaries and activity/stagnation. She especially enjoys collaborating with creatives of other specializations. 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), and the Macagnoni Prize for Innovative Research (University of Georgia). Her work is supported with commissions, grants and fellowships from the National Endowment of the Arts, National Arts Council (Singapore), Opera America, New Music USA, MacDowell, the Barlow Endowment for Music Composition, American Composers’ Orchestra, 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 Associate Professor of Music Composition at the University of Georgia, USA.



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 20 th 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 Martinů 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.


Jason Thorpe Buchanan is a tri-continentally active American composer, conductor, Artistic Director of the [Switch~ Ensemble], and Artistic Associate/Lecturer at the Hochschule für Musik Dresden. Formerly Department Chair of Composition, Theory, and Electroacoustic Music at Mahidol University, Managing Director of the Mizzou New Music Initiative (U of Missouri), and Director of the UT Austin Electronic Music Studios. He holds a Ph.D. from the Eastman School of Music, and has been commissioned and sought internationally by Alarm Will Sound, Talea, Nikel, Interface, Eklekto, Slagwerk Den Haag, Royaumont, EXAUDI, the HKNME, Eastman Musica Nova, TACETi, the University of Chicago, Stanford University, YST Conservatory (Singapore), the Bergen Center for Elektronisk Kunst, and others. Scenes from his multimedia opera Hunger have received performances at Darmstadt, The Industry’s FIRST TAKE, and MATA. Honors include a Fulbright Fellowship (Hamburg), nomination for the Gaudeamus Prize, an American-Scandinavian Foundation Grant, and Artist-in-Residence at the Embassy of Foreign Artists (Switzerland).



Jiradej Setabundhu studied music with Bruce Gaston at Chulalongkorn University. After receiving his B.F.A. degree with first class honors, he worked as a director of the guitar department at Chintakarn Music Institute and was a guitarist and composer of the Fong Nam Ensemble. He attended the University of Southern California for his Master degree in com- position where he studied with composer Donald Crockett. After graduating with Pi Kappa Lambda, He was offered a scholarship from prestigious institutions including Stanford University and Boston University. As a fellowship student at Northwestern University he worked as a teaching assistant and part-time lecturer, teaching music theory, aural skills and harmony. His teachers include M. William Karlins, Marta Ptaszynska, Amnon Wolman, Michael Pisaro and Stephen Syverud. In Thailand he worked as an Associate Dean for Academic Affairs at the College of Music, Mahidol University and the Conservatory of Music, Rangsit University. Currently he is a faculty at Princess Galyani Vadhana Institute of Music, Bangkok. Jiradej Setabundhu 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. He has been commissioned by diverse groups of artists such as the Los Angeles Guitar Quartet, the Northshore Chamber Orchestra, the Cascade Reed Trio, and the Duo 46. His composition, encompassing various mediums from acoustic, electronic to interactive multimedia work, has been performed in China, Italy, Japan, Malaysia, Poland, Slovenia, Thailand, and the United States.




Yayi Wira Pamungkas was born on October 19, 1994. He studied music composition at the Indonesian Institute of the Arts, Yogyakarta. He was once a selected participant in young composers competitions and masterclasses such as Pekan Komponis Indonesia 2019, the 26 th Young Composers Meeting 2020 in the Netherlands, and Borneo Ensemble Composer Series International Composition Competition 2022 in Malaysia. Composers who were curators of his composition: Vincent McDermott (USA), Jiradej Setabundhu (Thailand), Zhong Juncheng (China), Wen Deqing (China), Chong Kee Yong (Malaysia), Martijn Padding (Netherlands), Andries van Rossem (Netherlands), Andrew Hamilton (England), Jasna Velickovic (Serbia), Seung-Won Oh (South Korea).

Dopplering DIY for Alto Saxophone, Trombone, Electric Guitar, Keyboard, Violoncello, and Electronics (2022)

This composition is the composer’s response to the damage to the acoustic phenomenon of the city of Jogja/Yogyakarta that occurred due to the massive construction of buildings over the past decade. A decade ago, the Doppler effect produced by non-static sound sources around Jogja carried by high winds was still heard in the middle of the night. In addition to the sound of motor vehicle exhaust, a unique Doppler effect usually occurs on the night of a wayang kulit (Javanese shadow puppet) performance, especially when a gong is sounded. Currently, the Doppler effect is replaced by the ping-pong effect due to the reflection of sound produced by buildings. Overall, this composition represents the composer’s experience of Jogja sound in the middle of the night for a decade. The materials that make up this composition include the Doppler effect itself, the ping-pong effect, noise, and the use of pelog and slendro frequency modulation to represent the distorted personality of the Javanese/Jogja sound.



Runzhi Zhong, born in 2000 in Shenzhen, China, is currently an undergraduate student studying both composition and opera coaching at Shanghai Conservatory of Music. Her composition mentor is Xianglin Zhou. Within the four-year-study of composition, she has explored various instrumentations from solo works to big ensemble/orchestral works, and electronic music. As a Chinese composer, she is also interested in combining Chinese traditional instruments with western instruments to explore special sound characters. Her works have received several awards, including Second Prize of 5 th Academy Awards Composition Competition of Shanghai Conservatory of Music 2020, Second Prize of 1 st MaestrosVision Awards International Composition Competition 2022, Third Prize of 10 th National College Digital Art & Design Awards 2022(NCDA Shanghai). She was selected as the finalist of the 9 th Rivers Awards Composition Competition 2020 and the work Sounds of Prawiek was performed by Shanghai Chamber Orchestra. She has attended some masterclasses and workshops held by the Conservatory with renowned composers such as Tristan Murail, Aaron Jay Kernis, Xiaogang Ye, and Ruo Huang. She is one of the selected composers of the East Chamber Music’s Early-Career Composer Festival Summer 2022 (Canada) and is given a chance to collaborate with the ensembles-in-residence.

Frozen TIme for alto flute, bass clarinet, percussion, violin, cello, and keyboard (2022)

deep silencethe shrill of cicadas seeps into rocks

Every time there is a sound, is the cicada singing? The sound of cicadas seeps into the rocks, like showers falling, like the tears from above, but gets no echo. It is not silence, but the sound of life slowly permeates and settles in the stone. And then everything turns still, just like the lockdown this April, as if frozen in time. In the stillness, I heard the sound of insects, sound of leaves, sound of clouds, I heard the sound of sighing and weeping, raging and screaming, I heard the sound of anger, helplessness, and despair.



Kyle Rivera is a freelance composer and MM student at the Yale School of Music. He earned a BM in Music Composition and Viola Performance from the University of Houston with a Minor in Kinesiology. His principal for composition teachers were Katie Balch, Dr. Rob Smith, and David Ludwig. He has also studied composition with Jimmy Lopez, Reiko Feuting, Pierre Jalbert, Christopher Theofanids, and Martin Bresnick. Kyle has participated as a fellow at the Aspen Music Festival, the Immanuel and Helen Olshan Texas Music Festival, the Fresh Inc Festival, and the Atlantic Music Festival. He has performed on stage with artists such as David Curtis, Larvard Skou-Larsen, Spinx Virtuosi, the Ariel Quartet, Tomislav Facini, and the Houston Ballet Academy. As a composer, he has collaborated with the Houston Symphony, KINETIC Ensemble, the AURA Contemporary Ensemble, Houston Grand OperaCo, Opus Illuminate, 10 th Wave Chamber Music Collective, the Chelsea Music Festival, and Bent Frequency.

Seraphim for Quintet (2022)

The Seraphim are the celestial beings who serve the highest direct attendance of God. They are described as fiery beings with six wings and countless eyes. Upon seeing them, Isaiah makes remarks about the realization that, although he has come so close to God as to view his throne, the Seraphim demonstrate the verity of Isaiah as a being ridden with sin. It is then that he writes:

“And he laid it upon my mouth and said, Lo, this hath touched thy lips; and thine iniquity is taken away, and thy sin purged... Here am I, send me.”

When taken as a whole, Isaiah’s encounter with the Seraphim unveils a non-dual system rooted in different forms infinity. The first is the infinite indiscriminite proclivity of human beings to express sin. The second is the infinite discriminate capacity of God to cleanse sin. Rather than exist separately, these two instances of infinity are embedded within each other. Isaiah found that the closer he came to God and the Seraphim, the deeper he found himself in a state of sin. In his efforts to escape that state, he became the very thing he was trying to avoid. However, once he yielded to the state of sin, he was instantly purged from it by the grace of the Seraphim.



Ethan Resnik is currently pursuing a Bachelor of Music Degree in Composition at the Eastman School of Music. His works are often inspired by nostalgia, nature, and places that he visits, as well as his synesthesia, as he associates colors with letters, numbers, and sounds. His music has been performed by ensembles including the American Modern Ensemble, Quartetto Zuena, North/South Chamber Orchestra, Atlantic Music Festival Contemporary Ensemble, Akron Symphonic Winds, The Rhythm Method string quartet, and the Julius Quartet. In addition, he was featured as a composer on NPR’s From The Top, which aired in February of 2020. As a pianist, he was a soloist with the North Shore Symphony Orchestra, a finalist in the Yonkers Philharmonic Concerto Competition, and he received first place in the American Fine Arts Festival Concerto Competition. He also enjoys performing chamber music, accompanying, and arranging. For two years, Ethan studied composition with Eric Ewazen at The Juilliard School Pre-College Division. He also participated in the New York Youth Symphony Composition Program, Atlantic Music Festival, Mostly Modern Festival, Lake George Composer Institute, Curtis Summerfest, and the Maine Chamber Music Seminar. Besides music, Ethan enjoys riding roller coasters, hiking, studying French, and going to beaches.

Lighthearted Allusions for Ensemble (2022)

I initially intended on creating a work that challenges aspects of modern pedagogy of music composition, as well as performance etiquette that I felt discouraged a wider audience from enjoying classical music. However, its trajectory shifted to a lighthearted representation of an early student composer, such as myself, who may gravitate towards 20th-Century musical clichés, obvious uses of dissonance and material, and sounds that don’t play a large technical role in a work. I wrote this piece because I wanted to challenge myself by making use of what some of my past composition teachers told me to avoid, and recontextualizing it into a lighthearted and humorous setting. The piece reflects upon my journey as a composer, alluding to my own strengths and weaknesses as a student of the past, present, and future. The work is in three movements. The first depicts a student composer adding extended techniques as they are discovered, and as a result, the movement has a sense of awkwardness, suggesting that the student learned the technique and did not know how to use it in context. Further, there are overly-complicated sections that are very difficult to play. The second movement presents sonorities that I find stereotypical of 20th-Century music, each used in obvious and uncreative ways. The third movement is about performance art.



I move my first steps as a trumpeter, getting a degree in 2015 in the G. Verdi Conservatory of Milan, after which I got my Composition bachelor’s degree in 2021, always in Milan. Actually, I’m attending the composition Master at the same conservatory. A brief period of studying lyric singing gave me a clear perception of the problematic issue of writing for voice today, while the interest in the Jazz music as trumpeter gave me a knowledge of extended harmony. Recently I’m leading research on the concept of action polyphony and texture sound: on the simultaneity of instrumental actions in a single instrument, which originates the texture-sound, in which a complex sound reveals itself as a multiplicity of states in relation to each other. Understood in this way sound becomes an unstable. I’m deeply interested to build an efficient syntax with a strong irrational and improvvisative component. My music has been performed in Italy, Spain, Germany, France, Usa, Russia and Croatia by IEMA Ensemble, Divertimento Ensemble, Barcelona Modern Ensemble, Novalis Concept Ensemble, Daniel Kientzy, Francesco Dillon, Vacuum Quartet, Glass Clouds Ensemble and many others. Next projects include an album release and score publishing for Edizioni Sconfinarte, a bassoon solo piece, a double bass solo piece and participation to many European contemporary music festivals.

Strappi Svelano Scorci for Septet (2022)

Strappi svelano scorci is the result of an intersect of paths on different instances of composing, of perceiving time both in the service of sound and in the service of events, of constructing a form that is not two-dimensional but multi- perspective, of relating to a phenomenology in which fragmentariness and continuity collide, blurring. All of this while sticking with certain elements that have connoted my music for some work now: obsessiveness in the reiteration of well-characterized figures and gestures; the interest in a pulsed and not simply smooth rhythm; the exploration of instrumental situations in which two or three simultaneous actions (within the same instrument) contradict, fortify, or even produce unpredictable outcomes.

The chosen title is representative of the compositional processes employed in the composition of Strappi svelano scorci:


Imagine to have in front of you a painting, totally protected by a thick layer of cellophane, or impermeable protective material, of the kind used to secure paintings when they are transported on long journeys from one exhibition to another, or from one vault to another. Of course, the subject of the painting will not be visible since it is totally covered by the protective layer. On the surface of this protective layer, however, even at the very beginning of the piece some wrinkles begin to appear, to stand out, which turn into real tears, gradually revealing - tear after tear - the true subject of the painting, intuited glimpse after glimpse. Each tear, which lacerates the “fake canvas” to unveil the real one, is prepared by an energetic overheating that proceeds in waves, in cones, so that each tear is preceded by a phase of contortion and compression. But what happens after each tear?

What happens is that gradually the real subject of the picture is revealed - revealing precisely the “glimpse” - and musically it coincides with a let’s say almost impalpable situation, formed by very delicate sounds, an almost absent pulsation and the emergence of some polarized pitches, in which a sense of diaphanous suspension imposes itself, in open contradiction to the previous texture and dynamic charge. In this path of concretion (the overheating phase), deflagration (the tearing) and suspension (the glimpse) a dialectic is created that allows me to segment the listening, to help the listener orient himself, knowing full well that the complexity of writing music should not but be to the detriment of the ability to understand it, this music... of course in the presence of curious and attentive listeners.



Evan J Lawson is one of Australia’s leading queer artists, working at the forefront of contemporary culture as composer, writer, curator, and conductor, chiefly as artistic director of interdisciplinary company Forest Collective and Content Producer for Victorian Opera. Hailed by Clive O’Connell that ...the sonorities that emerged often proved extraordinary... Evan has been composing music since the age of 10 and is a graduate of developing artist programs with Melbourne Symphony Orchestra, Festival d’Aix-en-Provence, Malthouse Theatre and Grafenegg Festival. In Australia, he has studied with Benjamin Northey, Richard Gill and Johanna Selleck, and internationally with David Aronson and Matthias Pintscher who has said that his music is serene, deep, it’s even breathing the heritage of Mahler.

Evan has performed across the world, working with a variety of companies, such as the Tasmanian Symphony Orchestra, Tonkünstler Orchestra, Moravska Filharmonie and the Bendigo International Festival of Exploritory Music.

Echoes from the Labyrinth for flute, clarinet, violin, viola, and cello (2022)

Greek myth, legend and cultural practice has been a source of inspiration for me throughout my time composing music. Interpreting myths has supplied me with a rich vien of story telling to help shape sound worlds.

My largest undertaking exploring this was my dance-opera of 2019 Orpheus, which attempted to tell this ageless myth with a contemporary lens. My next major venture will be Labyrinth, a work which will explore the myth of Theseus, Ariande, the Minotaur and their journeys through the Labyrinth. This new piece is a test piece exploring certain harmonic and melodic ideas which will feed into the larger theatre work.

This piece is divided into 5 sections: the decent, the labyrinth, the journey, the minotaur &amp; the ascent. Musically the work is constructed around C and E flat, there relationship and various implied harmonies.



Composer born in 1994 in Athens, Greece. After graduating as a theatrologist from the University of Peloponnese Faculty Of Fine Arts, Theatre Departmentand and receiving specialized Diplomas in Advanced Music Theory, Harmony and Counterpoint, he started to study composition in Utrecht Conservatorium, where he obtained his Bachelor degree. In 2021 he studied as an Erasmus+ student in Universität der Künste Berlin and at the moment he is a master composition student in Koninklijk Conservatorium. He also attended masterclasses and lectures of G. Aperghis, S. Gervasoni, C. Ianotta, Y. Robin, F. Filidei,Y. Maresz, R. Cendo, E. Reiter, G. Spiropoulos, H. Parra, M. Lanza, J. M. Staud, O. Bianchi, B. Pierluigi and D. Kourliandski, among others.

He has received multiple commissions from ensembles and venues such as Philharmonie de Paris, while also has been collaborating with ensembles like Percussions de Strasbourg, Ensemble Multilatérale, Les Metaboles, Ensemble Fractales, Divertimento Ensemble, Meitar Ensemble, Roadrunner Trio, United Instruments of Lucilin, Ensemble Suono Giallo, Kaaos Ensemble, Vertixe Sonora, PHACE, ARTéfacts ensemble, Ensemble Terrible, Phoenix and KamerOrkest Driebergen.

His works have been heard in international festivals such as Rainy Days (LUX), Ostrobothnian Contemporary Music Festival (FI), Remus Georgescu International Music Festival (RO), The 21st Century Guitar Conference (USA), UNK New Music Festival (USA), VIII St. Petersburg New Music Festival (RUS), ilSUONO Contemporary Music Week (IT), ARCO (AT), IYCA Ticino (CH), CEME (IL), Roadrunner Academy (NL), Mixtur Festival (ES), Curs Internacional de Composició Barcelona Modern” 7th Edition (ES), VII International Workshop for Young Composers (IT), isaMasterclass (AT), CML (CY) and Vienna Summer Music Festival (AT). His music is mainly focused on the ideas of deviation, instability, interruption and interference. He is interested in researching the different levels of time and time perception by taking into consideration phenomena such as form, micro-material, rhythm and sonority.

He had collaborated with choreographers, artists, theatre groups, collectives and companies such as ‘Imitating the Dog’, ’Theatre of Experience’ and ‘Thingamajig’ by composing original music for ‘Old Times’ by Harold Pinter, ‘The Dance of Death’ by A. Strindberg’ and ‘ASTYlogia’ by N. Fytas among others.


His music has received premieres and performances in France, Austria, Italy, Switzerland, Luxembourg, the Netherlands, Czech Republic, Spain, Greece, Cyprus, Ukraine, Israel, Russia, United States and Canada.

Interruptions for Ensemble (2022)

The piece aims to describe a fragmental sonic environment consisted of different small sonic episodes which interrupt each other. Every episode interacts and complement each other with gestural variations by forming a fragmental -but continuous -structure.


Irene Tanuwidjaja (b.1998) is an Indonesian composer based in Jakarta, Indonesia. She completed her bachelor’s degree at UPH Conservatory of Music, Indonesia under the guidance of Antonius Priyanto. Irene’s music explores the concept of motions, technology and musicality of sounds from her surrounding in day-to-day life. She has actively collaborated with traditional ensembles such as Gambang Kromong and Javanese Gamelan. Her works has been selected and premiered in Pekan Komponis Indonesia 2019 held by Jakarta Arts Council, virtual concert Either/Or Spring’s Festival: Streamworks Volume II held by Either/Or ensemble, Young Composers Meeting 2022 organized by Orkest de ereprijs and Soundwalk Schokland organized by Museum Schokland and Ensemble Black Pencil.

Disconnect III for Ensemble (2022)

This piece derives from the Electromagnetic soundscape recording of a phone. In this piece, I intend to interpret this recording musically and revisited the exploration of discourse and interconnectivity of timbre and texture between the instrumentation and electronics.



Joel’s interest in composition stems from the social anxieties associated with having a speech impediment as a child and living as an LGBTQIA+ identifying individual in today’s still somewhat polarized society. He is primarily interested in anxiety, irritation, awkwardness and the grotesque/macabre as key points of inspiration for imagining, creating, and developing material. Ranging from the highly mechanical to the extremely untethered, his pieces occupy floating, ethereal sound-worlds where performers must work together to urgently negotiate their way through dense clouds of uncertain activity.

Joel is currently studying for a PhD at SUNY Buffalo under David Felder, holding a Presidential Fellowship and a Social Impact Fellowship. He previously studied at the University of Huddersfield under Aaron Cassidy. Joel has worked with internationally renowned ensembles including the Arditti Quartet, ELISION, the Divertimento Ensemble, Tempus Konnex, Barcelona Modern, the SEM Ensemble, ensemble Suono Gialo, loadbang, and Ensemble Signal.

At the end of his studies at Huddersfield, Joel received the J Wood & Sons Prize for acoustic composition and the Crabtree Prize for all-around achievement. He also won the 2022 John Golland Award and a prestigious 2022 ASCAP Morton Gould Award.

calendar of murmurs for Septet (2022)

calendar of murmurs vague caresses about the planet and its water we could have confused words but there were doors open confetti in the midst of darkness gentle ways to swoon in a corner with she who put her tongue in my mouth - Nicole Brossard (from Smooth Horizon of the Verb Love, 2010)



Brazilian-American composer Paulo Brito’s emerging international profile reflects his commitment to crossing cultural and disciplinary boundaries in bringing contemporary music to new and diverse audiences. First-Prize Winner of the Tōru Takemitsu Composition Award— awarded by world-renowned composer Unsuk Chin for his orchestral work Staring Wei Jie to Death, he has been featured at venues including the Shanghai Conservatory New Music Week, University of Toronto New Music Festival, and Contemporary Encounters/ Meitar Ensemble Festival. His music has been performed notably by Japanese Nō performer Ryoko Aoki, the Tokyo Philharmonic Orchestra, and Israeli pianist Oleg Yakerevich. In 2021, he was a resident fellow of the Royaumont Festival’s “Voix Nouvelles” young composer showcase, where his piece couleurs . . . angoisse was premièred by France’s Ensemble Linéa and conductor JeanPhilippe Wurtz. Paulo Brito recently earned his doctorate in Music Composition from the University of Toronto with his piece Ornithomancy, a commission of Taiwan’s National Kaohsiung Center for the Arts, where it was premièred in April 2022. This past summer, his new pieces were premièred by Ensemble Linea at the Cordes-sur-Ciel Festival and Ensemble Ars Nova at the Impérial Annecy Festival in France.

Shadow Steps for Alto Flute Solo (2022)

Inspired by shadow theater, Shadow Steps, Unaccompanied is animated by the idea that lifeless puppets, skillfully maneuvered by puppeteers to cast larger-than-life shadows on a plain backlit screen, take on an emotional resonance belying their flat two-dimensional form. As a composer, I am interested in connecting the dark and isolated yet intensely mobile outlines of shadow puppets against a blank canvas to the acoustic “two-dimensionality’’ of the unaccompanied flute’s single melodic line, filling and commanding an empty sound space with purposeful movement.



Manjing Zhang (b1991) is a Chinese composer and pianist currently based in Xi’an, China. She is currently teaching at Xi’an Conservatory of Music (Xi’an, China). She holds degrees from Central Conservatory of Music(Beijing, China) (BM ‘15), Carnegie Mellon University (MM‘18), and the University of Minnesota (PhD ‘21). She also taught at the University of Minnesota as a teaching assistant from 2019 to 2021. Her primary mentors are Xiaogang Ye, Shuai Zhang, Wenchen Qin, Alex Lubet, and Reza Vali. Her works have been performed internationally at Beijing Modern Music Festival, Chinese-ASEAN Music Festival, Space City New Music Festival, Digital Discovery Festival, Downtown Brooklyn Chamber Music Festival, NYC Contemporary Music Symposium’s concert, and Music by Women Composers, among others. Her scores are published by BabelScores.

Vicissitudes for Ensemble (2022)

Vicissitudes is a short work. The idea for the piece came from synthetic chords that develop over time. This work properly use western composing techniques to express Chinese traditional culture. The elements of folk music can be heard directly in the variations of pitch and rhythm.



Zi Tao Chua (b. 1999) is a Singaporean composer and pianist. He is currently pursuing his bachelor’s degree in Composition at the Yong Siew Toh Conservatory of Music in the National University of Singapore under the tutelage of Peter Ivan Edwards. Chua has demonstrated his flair as a pianist in the Inter-Junior College Vivace Piano Ensemble Competition, achieving Gold with Commendation in 2016 and 2017, and in the Kingsburg International Piano Competition, as one of the six finalists in 2018. As a composer, Chua explores his musical identity through the balance between science and culture. Several his pieces are influenced by systemic formulae, while at the same time infusing cultural elements into the music. All these can be seen as either a reflection or juxtaposition with the current world. Chua has also been involved with numerous collaborations. Exuviation (2021) is a set of dance movements completed in collaboration with Singaporean choreographer Dan Kwok on theme of grief. He was also involved with the Runaway Co., a non-profit youth-led theatre group, as a keyboardist in The Story of Tonight (2020), and a virtual collaboration for a radio play, The World We Live In (2021), during the pandemic.

Composition for an electric ensemble (2022)

Composition for an electric ensemble sets the stage for instruments to interact with a computer programme which creates soundscapes that typical acoustic instruments cannot produce. The use of the quarter-inch static adds on to the overall sonic experience of the piece, notably serving as a drone texture in most parts of the piece. Interactions between instruments happen often, where a drone can serve as the modulator frequency for a Frequency Modulation (FM) event. The computer programme steps through these various events throughout the piece, creating an overall experience of contrast between a bustling and rhythmic sound world against a sparse and quasi-improvisatory section. The signal processing is created using a MaxMSP patch. The various input channels are routed into the patch and gated at different points of the piece. Parameters such as reverb, delay, and panning are mostly controlled by the patch, with occasional ones carried out on the guitar effects pedals.

PROGRAMME FRIDAY 23 RD DECEMBER 2022 AT BANGKOK ART AND CULTURE CENTRE, STUDIO FL.4 10.00 - 12.00 Registration/Exhibition 10.00 - 10.45 Artist Presentation by John Eagle 12.00 - 13.00 Performance 1: Young Artist Commissions Chawin Temsittichok Conjuring for alto saxophone, trombone, and cello Nichagarn Chiracharasporn Cantabile for solo saxophone Jirath Patpradit (徐理仙) Recession for Solo Instrument, Vocal and Electronics Nattakon Lertwattanaruk Buzzes for ensemble Thanakrit Amornwetsanti Wet Fingers for alto saxophone, violin, percussion, and electronic Alric Samuel Godfrey (a)Systematic Meta-Transmutations for Clarinet, Viola and Percussion Mahakit Mahaniranon Madman in the paradise for 4 players 14.00 - 16.00 Performance 2: Voicing, Chiming, Resonating John Eagle Fulcra Boonrut Sirirattanapan Obsession in Metal for Bronze Drums, Thai Gong, and Computer Ying Ting Lin Memories of Landscape Tze Yeung Ho söpöhöpö for mezzo, percussion, electric piano, viola, and cello -IntermissionMichele Cheng & Hassan Estakhrian Space Junk elekhlekha อีีเหละเขละขละ Jitr จิิตร : decolonized imaginary electronics ensemble



Chawin Temsittichok (Thai). Thairath News described his recent interdisciplinary interactive theatre Vibefinder as “A story that let audiences defined their own happiness.” “A temporary space we(audiences) can feel empowered with their right.” Chawin’s musical experience varied in many genres such as classical, Thai traditional, theatrical, and experimental. His artistic creations often draw inspiration from political events, natural phenomena, and technological innovation. His diverse background contributed strongly to his determination to bridge different disciplines and orchestrate contemporary soundscapes. His musical commissions include Thailand International Composition Festival, Thailand Music and Art Organization, IntAct. He received the Grand Prize from 2019 SCG Young Thai Artist Award. He is currently a graduate student at Frost School of Music - University of Miami.

Conjuring for alto saxophone, trombone, and cello (2022)

The culture of holy amulet is spread throughout the world and is one of the common characteristic of many religion and believes. Each of these sacred objects is believed to had been consecrated by monks, or someone whom practiced sorcery. Is some case, a shaman, or necromancer would believed to conjure supernatural energy into these relics. Conjuring is a piece exploring a musical language reflected from paranormal activity in Thai culture. It tries to transcribe the sound of the holy and unholy, felt but invisible, mystical and diabolical transmutation around the act of conjuring.



Music has always been a part of Nichagarn’s life at a very young age. She started piano lessons at the age of 4 then followed her passion in music by enrolling in a pre-college program at Mahidol College of music majoring in Classical piano. She continued her bachelor in composition and was accepted as a class of 24 by the Juilliard School under instruction from Andrew Norman. Nichagarn’s works range from a small piano children piece to an orchestra piece. Her works have been performed in both Thailand and America such as Thailand International Composition Festival and Juilliard chamber music concerts where her works has been performed by many great performers and ensembles like TACEti new music ensemble, Mahidol musicians and Juilliard musicians. She loves experimenting and learning about many kind of music outside western view with the hope to find her own unique voice.

Cantabile for solo saxophone (2022)

Cantabile is a musical term that means “in a singing style.” In writing this piece, I sought to showcase the beautiful, tender, and singing qualities of the saxophone. This piece is in Rondo form (A-B-A-C-A). The A section represents a hopeful journey. As the journey goes on to the B section, the melody takes some darker and more painful turns. The C section has a very fun and circus-like atmosphere. The last return of the A section portrays the feeling of finally, happily coming back home.


Jirath Patpradit (徐理仙) is a Thai Composer, DJ/Music Producer and Vocalist. He graduated with a Master degree in Music composition from Faculty of Music, Silpakorn University. He has interested in Electronic Dance Music, soundscape, and social issue which influenced Glitchy Style of his music. Patpradit participated in events such as Thailand New Music and Arts Symposium, Silpakorn Conference in Sound and Music. He currently is freelance composer and working on his upcoming Album.


Recession for Solo Instrument, Vocal and Electronics (2022)

After the pandemic, things seem to be going better but people are back to struggling with Inflation, layoffs, and more expensive cost of living. which causes their circumstance to be more difficult to handle, even affecting a basic need of their life. This piece tells their story through music with the view of young generation (Gen-Z) and idea of Experimental music and Hyper pop.


Nattakon Lertwattanaruk is a Thai composer, violinist, pianist and conductor. Born in 2006, 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. Currently, he is studying composition with Piyawat Louilarpprasert. Recently, he was awarded the Distinguished Prize in the Young Thai Artist Award 2022 for his work ‘Buzzes’. He is currently completing his secondary school education 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.

Buzzes for ensemble (2022)

The premise of ‘Buzzes’ is to create organic soundscapes inspired by swarming hive insects. Through the use of brass mouthpieces with straw attachments, I aim to create sounds that resemble the motions of flying insects. As for the strings, a special bow stroke is utilized: the ‘wiggle’ bow. The purpose of the wiggle bow is to create unique sounds that resemble the motions of struggling insects. Throughout the piece, the idea of the ‘buzzing’ sound evolves in many different ways through various textures. As a whole, the ensemble will blend together, forming a whirlwind of sonic chaos.

Guest artists

Narat Klimthong Trumpet Nattawat Deejing French Horn



Thanakrit Amornwetsanti (b. 2001, Bangkok) began his serious 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 with Kwanchanok Pongpairoj and Jaruda Tirachomsri, and composition with Bordin Rattanasiri and Dr. Jason Thorpe Buchanan. In 2019, he received a merit scholarship from the Young Artist Music Program of the College of Music, Mahidol University. He is currently a third-year composition student at the College of Music, Mahidol University under the instruction of Dr. Jason Thorpe Buchanan and Dr.Tyler Capp. He has taken part in several masterclasses with renowned pianists and composers, including Dr. Artina McCain, Dr. Igor Santos, Dr. Paul Rickard Ford, Prof. Rolf-Dieter Arens, Sek Thongsuwan, and Dr. Stylianos Dimou. His creative interests include surrealism and Fluxus, as well as the study of human behavior, theatre, and experimental performance practice. As a performer, he has given many concerts as solo, chamber, and orchestra, His compositions have been premiered and performed numerous times in various festivals and concerts by the student chamber ensembles of the College of Music, Mahidol University, as well as the [Switch~ Ensemble]

Wet Fingers for alto saxophone, violin, percussion, and electronic (2022)

Ensembles must try their best to get closest to the written tempo marking in order to keep synchronize with electronic part. Cueing after fermata are suggested to be well be observed. Violin and Saxophone should be amplified in order to keep the dynamic balanced with electronic and percussion part. Rhythmic notation in the speaking part is a rough approximate rhythmic transcription of the recorded speaking sample.




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’ 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 had 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.

(a)Systematic Meta-Transmutations for Clarinet, Viola and Percussion (2022)

(a)Systematic Meta-Transmutations is a piece that was written upon conscious reflections made to incorporate Int-Act 2022’s theme “New Act, Vocality, Transmutation” into the work. Sounds evolve and transform as they move from their original appearances into new forms; transforming states from one instance to another, instrument to instrument, and so on—such as the forgoing vocalizations of the performers “transmuting” to the unique sonorities of the percussion setup, the viola, and the clarinet. Much like the alchemist’s experimentation on the transmutation of common metals to gold, or the transmutation that takes place when the states of elements change from one to another through nuclear decay; a sonorous idea transforms to conform to the idiosyncrasies and sonic possibilities of the instruments that play them, mimicking the sounds from where they come from: sounds just gone by, undergoing new “transmutations”—soon foregone.



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. Mahakit 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.

Madman in the paradise for 4 players (2022)

The song is about a group of insane people who think they are normal. They were talking about other people who looked at them weird as these people were also insane. During the day, it’s like something that people think is not normal, bad, shouldn’t be done, but sometimes it may not actually be the case. It all depends on the perspective of a person, a group of people, or their thoughts and experiences to decide on a particular thing. In fact, whether the four players are really insane or maybe the audience and everyone in the event may not have insanity.



John Eagle is a composer, instrument builder, and performer. His work operates within ecological frameworks involving extended instrumental systems. These systems, including recent water-based instruments, emphasize collective action and coordination between human and non-human actors. Harmony and intonation are often aspects of these systems, where they are understood environmentally—measuring or communicating conditions within the system.

He has contributed music, sound design, and technical design to a range of interdisciplinary projects. Sound House, a performance installation developed with Janie Geiser and Cassia Streb, features an eight-channel modular sound instrument he designed with Eric Heep and has been presented at the LAX Festival, the Wende Museum, and UCI’s Art of Performance. He is music director and arranger for Charles Gaines’s recent Manifestos 4, which premiered in July 2022 in Times Square as part of The American Manifest public art project.

Eagle holds degrees from Bennington College and California Institute of the Arts and is a DMA candidate at Cornell University. Based in Los Angeles and New York, Eagle performs in a variety of contexts on French horn and with his own instruments.

Fulcra (2022)

fulcra is an instrumental system for humans, seesaw, and wire-suspended chimes. Two people are required to coordinate, managing their bodily positions, wire tension, and speed in order to maintain the life of the system. Conceived as a network, the oscillating movements can be understood as a constant exchange of energy between nodes. Moments of balance in the system are brief, as even small movements can create chains of imbalances setting the system in motion again. The sustaining electronic tones emitted from the speakers contrast those of the chimes, which erratically swell and can appear to bend microtonally (often audible as soft acoustic beating) resulting from Doppler shifts as they slide along the wire towards or away from the speakers. The partially randomized electronic part also serves as a guide for the performers, who coordinate certain movements according to the changes in the electronics.



Boonrut Sirirattanapan born in Thailand. Around 1994 to 2003, Sirirattanapan was a member in 2 of Thailand’s most famous crossover-experimental ensembles, Fong Naam and Gorphai. In both groups, his role was keyboard player, electronics, and composer. Since 2003, Sirirattanapan had composed many pieces for computer, live electronics, chamber works, wind symphony as well as symphony orchestra. His works to date include La gardienne de la mer for Thai ensemble and computer (2003), Vela for wind symphony (2003-7), Saffron Number for Brass, Percussion, Piano, computer and video (2007), La 3 Rua Reverse for Oboe, Cello and computer (2009), Episodes of E.O.D. for trombone, piano and video (2010-11), VTIF for electronics (2012), Karawek for clarinet sextet (2008-15), Sacred Tree for Saxophone and computer (2015), the music-drama Ajatashatru &amp; Amrapali (2017-18), Glon for Ensemble, Chorus and Electronics (2017). Parts of his work “Prospered Night” was performed in the World Saxophone Congress 2018 at Zagreb, Croatia. His focus in bronze drums and gong leads to 2 works - Slow-Motion Flow of a Rural Scene for wind symphony, and Obsession in Metal, this latter work will perform in this festival. Today, Sirirattanapan teaches composition at the Conservatory of Music, Rangsit University, Thailand.

Obsession in Metal for Bronze Drums, Thai Gong, and Computer (2022)

In playing with bronze drum, a heavy, metal, bulky, not possesses the long, beautiful pitches as vibraphone or tubular bells, not has a deep low sound of nipple gong, not have a splashy grandiose sound of tam-tam and cymbal, or even do not have a tingling, lovely sound of glockenspiel and triangle, but it produces peculiar sounds of its own. The mysterious drum believed to be created by people in southern China or northern Vietnam around 2-3 thousand years ago. Its sound and texture on the tympanum and body relate to its functions and believes in Region from Southern China to Suvarnabhumi. While researching on this type of drum, along with Southeast Asian gong, I fascinated with many new timbres that could create from them. This piece is a result from the obsession I have.



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 Thailand New Music and Arts Symposium winning composition prize, 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 Society of Electro-Acoustic Music (SEAMUS) Festival, Thailand New Music and Arts Symposium, ilSUONO contemporary music week, MISE-EN_PLACE Bushwick, 18 th 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. She is currently in pursuit of a PhD at Brandeis University, studying Yu-Hui Chang. For more information, please visit –

Memories of Landscape (2022)

Inspired by YAN-TING HOU’s painting, “Spring,” the composer aims to reflect her deepest solicitude over her motherland by featuring dots and lines, the two main components of Chinese ink and wash painting. This work begins with Clarinet and string instruments, which portrays the initial black spot in a Chinese painting. It then continues on melodious elements that depict lines. These two main components interlock throughout the whole work, embellishing the contemporary outfit by a traditional way of thinking.



Tze Yeung Ho (b. 1992) is a Norwegian composer. Tze Yeung’s music is created at the crossroads of understanding, reflecting his multilingual upbringing. His works explore the territories of speech, translation in language, dramaturgy and poetics. Working with Scandinavian, Finno-Ugric and Chinese poetry and prose, his music treads on the fragile landscapes of (mis)communication through (un)spoken words. Close collaboration with living writers, storytellers and word-based artists is integral to his practice. Tze Yeung holds a PhD from the Estonian Academy of Music and Theatre and a master’s degree from the Norwegian Academy of Music. Tze Yeung 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 annual composition competition (CA). His collaboration with writer Linda Gabrielsen, hvorfor pusen? received the second prize of Shanghai New Music Week’s Chamber Opera Composition Competition. Tze Yeung is a third prize recipient of New Music Generation 2022 Composition Competition by the Kazakh National University of Arts. Tze Yeung is also a recipient of the national artist grant from the Arts Council of Norway and a stipend recipient of the Fergesten Foundation.

söpöhöpö for mezzo, percussion, electric piano, viola, and cello (2022)

This work is based on vowels and echoes from a poem by Norwegian poet Gunvor Hofmo (1921-1995) copied in my notebook by chance. Hofmo’s writings circle largely around the themes of loss and loneliness. The poem may be rendered wordless once the consonants are lost, but it beckons for the question: is a love song ever meaningless?

söpö (Finnish) = sweet (English) höpöhöpö (Finnish) = nonsense (English)




Michele Cheng is an interdisciplinary composer who intertwines diverse media such as music, experimental theatre, and puppetry to engage with social issues and cultural identities. As an improviser-performer, Michele plays multiple instruments and self-built electroacoustic devices. She is currently pursuing a doctoral degree in composition at Cornell University. Hassan Estakhrian is a musical storyteller. He is a composer, performer, songwriter, intermedia artist, producer, music technologist, sound engineer, and educator. He sings and performs on electric bass, guitar, keyboards, drum set, and a slew of other instruments both acoustic and digital. Hassan is currently a doctoral candidate in music composition at Stanford University.

Space Junk

We (Michele Cheng and Hassan Estakhrian) will perform a set of original music that is based around our practice as composers/improvisers/performers/technologists. We vocalize and perform on a number of instruments including self-built ones. The musical performance will incorporate a self-developed audio processing tool called The Regurgitator which listens to a performance in realtime and plays back transmutations of previous material, thus creating interactivity between the present and past. The performance will also incorporate (Electro) acoustic Soundboards, a self-built custom instrument. We will also use custom musical games, incorporating score cards with graphics and instructions to provide structure and constraints for the music.



elekhlekha อีีเหละเขละขละ is a collaborative research-based group consisting of Ridgewoodbased artists, Kengchakaj and Nitcha, interested in subversive storytelling using sound and visual archives, research into historical context, and using multimedia and technology to experiment and explore and define decolonized possibilities. elekhlekha อีีเหละเขละขละ means dispersedly, chaos, unorganized, all over, and non-direction. Our collaborative project Jitr จิิตร is a speculative imaginary electronics ensemble premiere at Wonderville NYC. We have been performed and showcased from small community to institution, including LivecodeNYC in-person and online events, Jamaica Center for the Arts and Learning, The Weekly WeeklyHomeward bound exhibition, Culturehub: Refest, and The Jazz Gallery. In 2021, we received development funds and support from the City Artist Corps grant, Queens Council on the Arts, and Babycastles NYC. Kengchakaj เก่่งฉก่าจิ is a Ridgewood-based award-winning improviser, pianist, and composer. His musical idiom is rooted in the aesthetics of Southeast Asia culture and African-American Creative Music; both are improvisational sound-based practices.

Jitr จิิตร: decolonized imaginary electronics ensemble

Award-winning artist collective elekhlekha อีีเหละเขละขละ join with local Bangkok’s live coder ███████ (, baitong~xystemes, and Wet Dreamz as an expanded ensemble of Jitr จิิตร. Jitr จิิตร is a speculative imaginary electronics ensemble using computer programing to generate and provide possibilities of decolonized Southeast Asia sound culture and its visual representation. The core concept was inspired by crucial Thai activist, writer, and historian, Jitr Poumisak(จิิตร ภููมิิศััก่ดิ์ ), who was seen as a threat and killed by the Thai government in the 1960s. “Jitr is a fascinating work of speculative, imaginary electronics blended into a powerful performance.”

- Nathan Ladd of Tate Britain

“The desire to revisit non-Western musical codes through the use of algorithms and digital technologies is significant - the concept of unlearning is very relevant today.”

- Boris Magrini, of HEK Basel

PROGRAMME SATURDAY 24TH DECEMBER 2022 AT BANGKOK ART AND CULTURE CENTRE, STUDIO FL.4 10.00 - 12.00 Registration/Exhibition 11.00 - 12.00 Performance 3: Mirroring, Speaking, Intermediating Toh Yan Ee Mirrors for solo Trombone Giordano Bruno do Nascimento Kevin, das ist einfach so dumm… Jacob Elkin & Zak Ma The Intermediate 14.00 - 15.00 Performance 4: Necromancy for Beginners 16.00 - 17.00 Performance 5: Sounds, Tradition, Transmutation featuring Swiss Artists and Composers Scott Wilson ข้างนอีก่ (outside) for Ensemble Thanakarn Schofield Mono-Morphing – V2.5 for Mixed Ensemble Matthias Leboucher I tried so hard to be quiet for Trombone, Keyboard, Violin, and Vibraphone Saksri Pang Vongtaradon Demon Who Lives Inside My Head for Vocal, Cello, Percussions and Video Piyawat Louilarpprasert Ramming Stones Eleni Ralli The Butterfly Effect



Toh Yan Ee (b.2000) is a Singaporean composer whose music fuses elements of spontaneity and organicity. Yan Ee’s music deals with dichotomies within nature - both the phenomena of our physical world, as well as the nature of things. Her works explore gestures through the amalgamation and morphing of timbres and harmonies. Yan Ee’s music has been performed by TACET(i) Ensemble, Les Percussions de Strasbourg, Asian Cultural Symphony Orchestra, Salastina Music Society, Singapore Chinese Orchestra, and Wu Xian Ensemble amongst others. She has presented at festivals such as St. Petersburg International New Music Festival, International Young Composers Academy Ticino, New Music on the Bayou Festival, Hot Air Music Festival, Thailand New Music and Art Symposium, New Hong Kong Philharmonia Composers Retreat, AMAT Women Composers Competition ‘femfestival’, Singapore Chinese Orchestra Composer Workshop, YST Young Composers’ Academy. Yan Ee is currently pursuing her Bachelor’s degree in Composition at the Yong Siew Toh Conservatory of Music, National University of Singapore, under the tutelage of Ho Chee Kong and Adeline Wong.

Mirrors for solo Trombone (2022)

Mirrors for solo Trombone is an exploration of the duality of the performer, presenting juxtapositions of contrasting characters and timbral colours, as well as the integration of voice, breath and instrument. The piece journeys through phases of seriousness, reflective contemplation, energetic pulsations, before concluding with a vigorous declamation.


Giordano Bruno do Nascimento is a German artist, composer and researcher. He held his Bachelor’s, Master’s, postgraduate studies in composition at the University of Musik Franz Liszt in Weimar and at the FHNW Basel with Johannes Kreidler. Giordano has received numerous prizes, scholarships, and residencies, like the DAAD Prize, the Prize of the Opera Elect Company in Idaho, a residency at the Künstlerhof Schreyahn, the artist residency OP ENHEIM Warsaw and the artists and researcher’s residency at the ISELP in Brussels. In the last six years, under his own musical direction, he has performed the operas “Lucie”, “Die Marmorpuppe”, “Die schöne Wahrheit”, “Global Players”, “Die Wahrheitsschwestern” and “Mutter” in Weimar, with very positive echoes in the press, especially at the Hamburger NMZ (Neue Musikzeitung). His chamber and orchestral works have been performed in several festivals in different countries: among others in Pan Music Festival in Seoul, DCMF in Daegu, Il Suono in Italy, Klangwerkstatt Berlin, Sao Paulo Contemporary Music Festival, B-Classic Festival Belgium, Paris, and at Berliner Pyramidale.

Kevin, das ist einfach so dumm...

“Kevin, das ist einfach so dumm…” is a trio for soprano and two cell-phones from the opera “Frau Kempelens Sprechmaschinen” after a text with the help of DeepAI Software https://, Google Assistant and Siri. The German texts are from the libretto, the English are the musical instructions by the composer.



Sasinee was born in 1994 in Bangkok, Thailand. She graduated with her Masters Degree with Excellent (Auszeichnung) in Opera Performance with Uni. Prof. KS Edith Lienbacher and Prof. Helen Malkovsky from the University of Music and Performing Arts in Vienna, Austria. Sasinee has also participated in numerous voice master classes, given concerts, and several national and international competitions throughout the country, Austria, Germany, England,


China, Japan, and Thailand. In October 2018, she won 2nd Prize in the Vocal Music Opera Course of the 19th Osaka International Music Competition in Osaka, Japan. December 2018, Sasinee was one of the chosen singers from the University to participate in the Masterclass with KS Krassimira Stoyanova which took place in Schlosstheater Schönbrunn in Vienna, Austria. In June 2019, she was invited to perform as “Micaela” from Carmen with Sichuan Symphony Orchestra in Chengdu, China. Sasinee performed as a soloist in Thailand’s Philharmonic Orchestra (TPO) at the New Year’s Concert, as “Frasquita” in TPO’s Carmen in Concert Formal, soloist in the fourth part of the Mahler’s Symphony. She has performed “Adele” from Die Fledermaus in 2013. At the end of 2017, she was honorably invited to perform in Schlosstheater Schönbrunn Palace, Vienna to celebrate the birthday of H.M., the beloved King of Thailand. Moreover, she continually appears on stage, she performed as “Musetta” from La Boheme and “Zerlina” from Don Giovanni and as “Carolina” from Il Matrimonio Segreto at the University of Performing Arts, Vienna, Austria. Latest, she performed as “Adina” from L’eliser d’amore at BACC, Bangkok, Thailand.


Jacob Elkin is an NYC based musician, composer and educator. His music emphasizes a contemporary approach through microtonality and electronic spatialization. Mr. Elkin has performed on some of the most prestigious stages of the world including Carnegie Hall, Avery Fisher Hall, Jazz at Lincoln Center and The Kimmel Center. He has presented lecture performances at Mozarteum University Salzburg, the University of London and The Contemporary Art Center Seoul, South Korea. Mr. Elkin has been written about in many publications including Broadway World, OperaWire, New Music USA, I Care if you Listen, Classical Music Daily and Avant Music News. His music is available on WAW and Ablaze records and has been played on WKCR New York Radio.



Zak Ma is a New York based actor and physical theatre artist of Vietnamese descent. He received his Masters degree in Acting at the Actors Studio Drama School, and is a core member of a Butoh theatre company, Ren Gyo Soh. Zak’s work dives into the universality of the human experience to connect people of all backgrounds, and aims to liberate the voices that are overshadowed by societal pressures. Recent credits include multimedia experimental exploration of mental health, Sunlight and Nightsweats. Traditional theatrical credits include Trigorin in Chekhov’s The Seagull (Schapiro Theatre), Hiroshi in True Nature of All Being (Emerson Theatre Collaborative), Eli in Watch Me (Kervigo Ensemble Theatre).

The Intermediate

The Intermediate is a multidisciplinary audiovisual performance featuring video/ choreography by Zak Ma and music/sound design by Jacob Elkin. Born in Vietnam, Zak Ma explores his family’s diaspora to America and the emotional journey of finding cultural identity in a global society through Buto dance. Zak Ma’s personal history plays an integral role in the performance, from the costumes paying tribute to his family’s textile shop in Vietnam, to the lullaby sung to him by his mother as a child. Jacob Elkin’s music interweaves traditional folk melodies with orchestral scores and ominous electronics to guide the audience through a story of loss, discovery and rejuvenation. The Intermediate was a recipient of the 2021 NYFA City Artist Corp Grant and the 2021 Queens Council on the Arts Fund Grant.




“The dead are not your tools”

The stories of spirits, jinns, ghosts and other worldly beings hold a strong importance in our culture. These stories will be re-explored and retold in a new digitally immersive performance project. Necromancy for Beginners hopes to take the audience on a journey between the worlds of the living and the non-living.

Necromancy for Beginners is a hybrid multimedia music theater directed by composer, Piyawat Louilarpprasertand, stage director, Martin Butler, in collaboration with Wen Liu (Studio M.A.R.S.), Dr. Marcus Doering (PMD-ART), Kittiphan Janbuala, Thanapat Ogaslert and Tacet(i) Ensemble. The work amalgamates artistic disciplines among contemporary music concert, performing arts, immersive theatre with advanced digital technology.

Through a series of ritualistic séances that were inspired by the ten “Khon reyk phi” (คน เรียก่ผีี ) rituals from Thai culture, which have striking connections to European necromancy practices. Each scene is designed to evoke the spirit of one ghost, mediated through a series



Piyawat Louilarpprasert, Music director, music structure and composer of music scenes 1, 5, 7, 9, 10

Martin Butler Stage director, scenic structure, and scenic script

Wen Liu Composer of music scenes 2 - 4, 6, and 8

Kittiphan Janbuala Visual and installation artist

Thanapat Ogaslert Visual and installation artist

Dr. Marcus Doering Interactive and technological artist

Boon Hua Lien Guest conductor

Tacet(i) Ensemble Interactive Performers

Parama Sirapakul Dancer

Tas Chongchadklang Dancer

Scene Orders: 1) Ghost Hunting “ล่า ท้า ผีี” 2-3) Revealing Phra Phum Shrine “ลอีงขอีง” 4) The Ritual “เปดิ์โลก่วิิญญาณ ” 5) Necromancy Begins “ปฐมิบท ไสืยเวิทย�” 6) Talking to (un)deads “มิิตพศัวิง” 7) Ghostly Mixed and Berserkers “ภููต ผีี ปศัาจิ
of performative actions and narrative stories that are based upon characteristics of that ghost. Each ghost is taken from either local Thai stories like Mae Nak Phra Khanong (แมิ่นาคพระโขนง), Phi Nang Ram (ผีีนางรา) Krasue, ghoul, Krahang (ก่ระสืือี ปอีบ ก่ระหัง) and Kuman Thong (ก่มิาร ทอีง) as well as German ghosts such as Roggenmuhme, Poltergeist and more. The duration of work is 70 minutes with the total of 10 scenes. The project is generously supported by International Coproduction Fund (IKF) - Goethe-Institut 2022.
” 8) Incantation “อีก่ขระมินตรา
9) Summoners and Prayers “คน เรียก่ ผีี” 10) Samsara “สืังสืารวิัฏ: เวิียนวิ่ายตายเก่ดิ์”



See biography page 6


Martin Butler is a British-German interdisciplinary artist and director. He graduated in Dramaturgy and Theatre History at the University of Manchester, UK, and later Choreography and Performance at SNDO in Amsterdam, Netherlands. In his work he has always bridged and combined different disciplines, dance, theater, music, film, performance, new media and fashion, and through this interdisciplinary approach his work explores the new drama that the combination of different genres makes possible.

Since 1996 he has been creating performances, at various theatres and festivals internationally, ie, Holland Dance festival, Tanzhaus NRW, Forum Aachen, Spui Theatre, The Hague, Rotterdam Schouwburg and many others.

His work has been shown at Palais de Tokyo, Paris, LA Design Week, Istanbul Modern, Beijing Design Week, European Media Arts Festival in Osnabrück, Vienna Design Week, Bonn Kunst Museum, Centraal Museum Utrecht, Fundación Telefonica, Lima, Photokino, Cologne, Øsknehallen, Copenhagen, San Pau Modernista, Barcelona, Istanbul Design Biennale, Amsterdam Museum, Pixxelpoint festival in Slovenia, Olympus Photography Playground, Berlin, Wiels Museum, Brussels, Seattle Design week, Kasteel Keukenhof, Netherlands, the Museum of Modern Art in Arnhem, Marres, Maastricht, Salon Amsterdam and Mediamatic and many others.

Since 2014, he has been creating new opera and music theater projects that have been presented at the Festival of Almagro, Spain, Renaissance Music Festival Copenhagen,


Musikhuisen, Aarhus, Festival Alte Musik am Bodensee, Staatstheater Augsburg, Amuz Antwerp, the European Festival of Church Music, Deutsche Oper Berlin and Bonn Opera among others.


Wen Liu is the founder and artistic director of the contemporary music and art Festival M.A.R.S.(Music & Arts ReSound), and has initiated the Music+Art+Science+Technology collective Studio M.A.R.S.

She graduated Summa Cum Laude with both a Bachelor and Master of Arts in Music Composition from Music and Arts University of the City of Vienna, and pursued a Phd in music composition at University of California, San Diego,

She is the winner of Ö1 Talentebörse-Kompositionspreis Austria, Austria Federal Staatsstipendium, City of Vienna Musikstipendium, Fellowship of European Music Accelerator, the Francisco Escudero International Composition Competition (Spain), the International Composer’s Competition New Note Croatia. And awarded the Förderungspreis for Music from the City of Vienna, and the Theodor Körner Prize under the patronage of the Austrian President Dr.Heinz Fischer.

Wen is also a multimedia artist working with music, video, dance, live interactive projections, and AR/VR/MR. Her award-winning projects are built of collaborations with artists across genres and fields, such as dancers, visual artists, and technology engineers. Her works have been featured at international festivals such as La Biennale di Venezia, Ars Electronica Festival,Athens Digital Arts Festival, Wien Modern, Expo Shanghai, ManiFeste IRCAM, Steirische Herbst ,ZeitRäume Basel:Bienalle für Musik und Architektur, Crossings for contemporary music and dance Johannesburg, Biennale Taschenopernfestival Salzburg, Festival Mixtur Barcelona, Stockholm Fringe Fest.

Wen has been invited for artist-in-residence in Johannesburg (South Africa); in Singapore; and at festival d’Aix en Provence, and as mentor of SEWEM European Women Music 2022/2023.




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 work. 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, Hypersounds Event VIII, Glitch Art is Dead 2022, and FU:BAR Glitch Art Exhibition 2022. Kittiphan is currently PhD candidate from the college of music, Seoul National University, and working as a lecturer at the faculty of music, Silpakorn University, Thailand.


Thanapat was grew up in Banmo, Bangkok within electronics neighborhood. He pursues to study sounds and it’s creative methods from various viewpoints from physically, electrically ro algorithmically. Working both as an artist and technician, thanapat explore the use of biology and audio synthesis to created the works that connects between living and inanimate things. His past works was featured in Bangkok design week, Princess Galayani Vadhana institute of music, and multiple music venues around Bangkok.

Thanapat is currently an electronic musician of taceti ensemble.



Dr. Marcus Doering (born June 30 th, 1967) completed a PhD in physics 1998 at the Max Planck Society, Berlin. In 2007 - after several years of research activities in Toronto, Canada and project work in the area of nanotechnology - he took over a project at the renowned design off icebüro+staubach GmbH in Berlin: a patented camera tracking and video projection technology that was developed with André Bernhardt and premiered in 2002 at the opera “Marlow: Jew of Malta” at the Münchener Biennale 2002.

Dr. Doering and André Bernhardt founded the label PMD-ART and successfully demonstrated the ongoing development of the technology with numerous projects. Dr. Doering joined VISTAC GmbH at the end of 2015 to develop and adapt this technology as a complete server solution for theaters, shows and events, KAISER RESONANT TECHNOLOGY, with funding and support of German Federal Ministry for Economic Affairs and Energy.

Since 2017 PMD-ART works in close collaboration with the art director Lars Scheibner in Neustrelitz, Mecklenburg-West Pomerania. Dr. Doering moved to Neustrelitz. In 2020, with the support of the Ministry of Science, Culture, Federal and European Affairs MecklenburgWest Pomerania, they founded the LABORATORY OF PERFORMING ARTS AND DIGITALITY in Neustrelitz.In 2021, after several common dance projects, Lars Scheibner und Dr. Doering were awarded with the MAIN CULTURAL PRIZE in Mecklenburg-West Pomerania for their unique combination of digitality and traditional dance.


page 13



Started dancing at the age of 13 from attending the marching band as a Color Guard. Throughout his time in the club, he practiced Ballet, Jazz dance and Contemporary dance. At the age of 18, he joined the Siamyth Drum & Bugle Corps 2014 as the Color Guard. Graduated with a bachelor’s degree from Faculty of Music and Performing Arts, Major in Acting and Directing, Burapha University. Worked on the movement of the body in the water. in open areas such as the sea including narrow spaces to find dance techniques in various forms that affects the emotions and feelings of the dancers

After graduating, he had the opportunity to work for the Pichet Klunchun Dance Company, where he practiced contemporary dance techniques unique to the Company. Currently working at Thai Media Fund.



Started practicing the basics of Khon dance (Giant) from the age of 9 and continued to practice until the age of 17 years after attending Burapha University. Faculty of Music and Performance Thai Dramatic Arts by practicing Thai dance basic movement and contemporary dance, respectively.

Upon graduating from Burapha University And has joined Pichet Klunchun Dance Company since 2018 until now.




For the past three decades Scott Wilson’s music and sound art has explored the intersection of a variety of different and sometimes contradictory practices. Combining aspects of instrumental/ vocal composition, field recording, immersive multichannel electroacoustic sound and visuals, cross-cultural collaboration, live coding and improvisation in works that are each a bespoke solution to a unique artistic problem, his output holds few firm allegiances to schools, styles or genres, and regularly transgresses the boundaries of the ‘acceptable’ to be found in even the most supposedly experimental fields of practice. A particular interest in collaboration has led to a rich range of output, including cross-cultural and interdisciplinary works. These and other pieces including hyperreal soundscapes using sound from the natural world, a collaborative musical palimpsest on classic Qawwali recordings, and music created by sonifying the particle collisions of CERN’s Large Hadron Collider have been presented around the world. Also active as an educator and mentor for young artists, he is the co-director of Birmingham ElectroAcoustic Sound Theatre and teaches at the University of Birmingham in the U.K.

ข้้างนอก (outside) for Ensemble (2022)

This piece for ensemble and electronic sound makes use of an unusual and hybridised scale and tuning. Its seven main notes are approximately equally-spaced, and it is similar in some ways to tunings used in Thai traditional and other non-Western musics. These are augmented by ‘chromatic’ notes in between that allow for the creation of different ‘modes’ which may suggest other music, albeit in ways which are not exactly ‘in tune’. The title of this piece refers to this sense of being outside of any clear musical space, somehow both between places and nowhere at the same time. I would like to thank Piyawat Louilarpprasert for the invitation, and the wonderful musicians of Taceti for their help in realising it. I am also grateful to the British Council for providing funding to support this through workshops and meetings during the pandemic period.



Thanakarn Schofield’s works explore the sonic behaviour of multiculturality, contemporary and traditional practices, and geographical sonic elements from the Far East/Southeast Asia. He holds a Bachelor of Music from the Royal Academy of Music in London where he studied with David Sawer and Rubens Askenar. In 2018, he earned his Master of Music in Composition from the Koninklijk Conservatorium Den Haag, under the tutelage of Peter Adriaansz, Cornelis De Bondt, and Mayke Nas. Schofield compositions have been performed in more than 10 countries and commissioned by different orchestras and ensembles including Avanti Orchestra, Residentie Orkest Den Haag, Harmonieorkest De Phoenix, Orkest De Ereprijs, Harp Sirens, Hezarfen Ensemble, Klangforum Wien, Kluster 5 Ensemble, Mivos Quartet, Moscow Contemporary Music Ensemble, New European Ensemble, PinkNoise Ensemble, Spaceship Ensemble, Tacet(i) 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). Schofield is a PhD student at the Graduate Center CUNY where he studies with Jason Eckardt and he also holds a teaching fellowship which he is currently teaching at the City College of New York.

Mono-Morphing – V2.5 for Mixed Ensemble (2022)

“A reconstruction and alternation of instrumental chanting inspired by the Gelug Monks with very loud high frequencies that contrasted with Low and distorted noises, but most importantly your ears would feel like they about to explode (or not?)”

The concept of Mono-Morphing focuses on the aesthetic of praying. When one prays to something or any entities (sacred/non-sacred) – the voice of prayer would be heard and echoed only upon the prayer themselves. With this in mind, when the high frequencies are crashed, it will create a unique series of high intervals inside the inner ears of the listeners which will be heard and diverse to every individual – like the unheard whisperings from the prayer’s minds and souls.



Matthias Leboucher is a french composer and pianist actually based in Vienna and Salzburg, Austria. His field of activity includes instrumental and electronic music, performance, installations, media-art, as a creator and performer.

He is the pianist and initiator of the NAMES ensemble (New Art and Music Ensemble Salzburg) with which he regularly performs in festivals such as Aspekte, Dialoge and Crossroads in Salzburg, Mixtur Barcelona, or in Germany, South Korea, Italy, Lithuania... The ensemble of 10 musicians, which is organized in a democratic way, focuses on creations combining instrumental music, new technologies, concepts or performance.

He studied piano especially with Bernard Job, Françoise Thinat and Marie-Paule Siruguet, and was awarded the Maurice Ohana special mention at the 9 th International Competition of Orleans in 2010. In 2020 he received the Startstipendium from the Austrian Ministry for the realization of his solo project Piano&. He also performs as a jazz pianist and improviser in various groups, including Mashed Peas in Salzburg.

His productions as a composer are multiple and varied, ranging from pure instrumental music, with electronics and video, to installation and media art. His fields of interest include analog and digital synthesis, robotics, algorithmic composition, visual and theatrical aspects, poetry and literature. His music has been performed in France, Germany, Austria (Aspekte Festival, Dialoge Festival, Crossroads Festival...), China (Shanghai 9 th New Music Week 2016), Lithuania (Gaida Festival), Greece, by ensembles such as Klangforum Wien, Court-Circuit, oenm, Synaesthesis, Collect/Project, Interface, Chromoson, Enssle-Lamprecht, NAMES...

He studied composition with Jean-Luc Hervé, Tristan Murail and Achim Bornhöft, in BoulogneBillancourt and at the Mozarteum, Salzburg, where he obtained his master’s degree in 2017. He also studied with Alain Louvier (Orchestration, Analysis), Jan Maresz (Electronic Music) and Denis Dufour (Acousmatic Music) among others.


I tried so hard to be quiet for Trombone, Keyboard, Violin, and Vibraphone (2022)

The title is a lie. I’m generally a quiet person, trying my best to use my voice only at the right moment and in a meaningful way. A dialogue between two or more people only makes sense if there is mutual listening and understanding, when no one cuts each other off. It is like a game, which becomes complicated as soon as it touches sensitive or personal matters. Off topic : I would never claim to be good at this game.

This piece is all about speaking at the right time (in this case, playing), leaving room for the other entities to react. Or not.

Technically speaking, the piece uses different click-tracks, one for each player, to synchronise them together in a more human, performable way.


Saksri Pang Vongtaradon is one of the prominent Thai composers and jazz pianist who blends classical traditions, jazz and Thai musical traditions, transcending musical and cultural boundaries. He received a Doctoral degree in music composition from Chulalongkorn University, and a Master of Music degree in Jazz Studies from the University of North Texas. He studied jazz piano with Dan Haerle and Stefan Karlsson and studied classical piano with Adam Wodnicki and Dr. Steven Harlos. As a jazz pianist, he has performed with Eric Marienthal, Javon Jackson and University of North Texas Symphony Orchestra. He has appeared at concerts and festivals including Bangkok Jazz Festival, Huahin Jazz Festival, Sawasdee Jazz Festival, Kathmandu Jazz festival, Thailand International Jazz Conference and Thailand Jazz Competition. His debut album “Seagull” was nominated for Kom Chad Luek award for the 2010 best instrumental album. He studied composition with Paris Rutherford, Neil Slater, Narongrit Dhamabutra, and Weerachat Premananda. In 2014, he was awarded a Fulbright Visiting Scholar to study music composition with Chinary Ung, Grawemeyer Award winning composer, at University of California, San Diego and in 2018, he was awarded a grant to study composition with Yann Robin and Raphael Cendo at Université D’Altitude, France.


He has been receiving awards and commissions from the Fulbright Thailand, French Embassy, Japan Foundation, National Research Council of Thailand, Thailand Research Fund and Silpakorn University. His music has been performed at concerts and festivals worldwide by ensembles like the l’Ensemble Multilatérale, Tana String Quartet, HD Duo, Nirmitta ensemble, Illuminart Philharmonic Orchestra conducted by Maestro Tomomi Nishimoto, Calliope Duo, Tacet(i), and Ensemble Fove. Currently, he is a faculty member of the Faculty of Music, Silpakorn University and has been invited as a guest lecturer and adjudicator at national and international music conference and festivals including Nirnitta Composers Workshop, Thailand Jazz Competition, and Silpakorn Jazz Camp.

Demon Who Lives Inside My Head for Vocal, Cello, Percussions and Video (2022)

Demon Who Lives Inside My Head reflects a condition of a person suffering with depressions. From data collected through several interviews with musicians diagnosed with depressions, I tried to express their emotions, feelings and thoughts that normally appeared internally by using various theatrical and musical gestures. The piece is partly improvised to signify the randomness of the symptom. Awful thoughts that frequently appear inside their heads seem like they come from an another person, a demon. A demon who lives inside their heads.

Guest artists

Thunyaporn Chantrapirom Vocal

Kasem Thipayametrakul Percussion


See biography page 6

Ramming Stones (2022)

Ramming Stones contains the idea of self-determination where the performer is asked to improvise on given materials in order to create a self- portrait of forms, sounds and interpretation. Sonically, the piece explores sound qualities of Tubax—deep-overtone


spectrums, low sounds, and plump characters. Conceptually, the piece portrays characteristics of “stones”— rockness, hardness, roughness which I use to reinterpret the sound of tubax as heavy metal-like, rough harmonic sound, intensity of tone colors and so on. Practically, piece provides gestural and musical events where the performer will execute musical materials with interruptions—aiming to create continuity and discontinuity among sonic materials.



The recipient of best Thai performer in Jean Marie Londeix International Saxophone Competition 2017 and Selmer Saxophone Artist (Paris), Pisol Manatchinapisit has been awarded several prizes and honors such as Prix Walo- Sprungbrett 2017 (Switzerland), 3rd prize Asian saxophone competition 2016 (Taiwan) and 2nd prize Osaka International Music Competition 2014 (Japan)

He also participated and performed in several saxophone festivals such as World Saxophone congress 2015 (France) and 2018 (Croatia), Palma de Mallorca Saxophone Festival 2018 (Spain), Thailand New Music and Arts Symposium 2019 and 2021 (Thailand),The 2nd Asia Saxophone Congress 2019 (China), Saxtronic in Space.The Pavillon Le Corbusier 2019 (Switzerland), Hearing Visibilities: Multimedia Music and Art Performances 2019 (USA), ZHdk Saxophone Quartet, Embassy of Switzerland in the Republic of Korea 2019 (South Korea),Zurich Saxfest 2022 (Switzerland).

With an ardent advocate of new music, Pisol works largely on acoustical contemporary music and music technology by new works of new composers and also himself. Recently, he is collaborating with New York based emerging Thai composer, Piyawat Louilarpprasert. The past projects included Vienna Saxfest 2016 (Vienna), “Diffused Portrait” 2017 (London and The Hague), Thailand International Composition Festival 2016 (Bangkok), Tesselat Composer Collective 2018 (Osaka) and “Pixel for saxophone and orchestra” with Thailand Philharmonic Orchestra 2019 (Thailand).



The Butterfly Effect (2022)

“What if you could go back in time? Could you save the one person that mattered the most?” The Butterfly Effect trailer. In chaos theory, the butterfly effect is the sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state. (

In real life, as in this piece, the butterfly effect expresses the idea of how small, independent events can have a large, unpredictable influence on the future. Is the single performer (soloist) triggering, affecting, or reacting to the group events? Is there any predictability of what is coming next? This is up the listener to decide.

See biography page 30
PROGRAMME SUNDAY 25 TH DECEMBER 2022 AT BANGKOK ART AND CULTURE CENTRE, STUDIO FL.4 10.00 - 12.00 Registration/Exhibition 10.00 - 11.00 Forum 1: New Act, Vocality and Transmutation Moderated by Thatchatham Silsupan 11.00 - 12.00 Forum 2: Necromancy for Beginners A Conversation with the Artist Team 13.00 - 14.00 Performance 6: Trance, Mystery, Dramaturgy Jason Thorpe Buchanan walkside, lost for Three Percussionists Emily Koh Unheard for Bass Clarinet and Baritone Saxophone Pradit Saengkrai Ex Natura for Modular Synthesizer Zhuosheng Jin Pale Flower I - A mini stage work for one performer, objects, and light Jiradej Setabundhu MIDORI 15.00 - 16.00 Performance 7: Necromancy for Beginners 16.00 - 17.00 ICIT Award Ceremony and Closing Ceremony



Thatchatham Silsupan is an artist-researcher based in Chiang Mai, Thailand. His main research focus on the application of sounds that are situated outside the conventional sonic paradigm of beauty. Recently, his devotion to noise in musical context and others has led to a number of artistic research that are published, promoted, and exhibited by organizations and festivals such as Thailand Research Fund (TRF) and the Office of the Higher Education Commission (OHEC), Princess Maha Chakri Sirindhorn Anthropology Centre (SAC), Routledge Global Popular Music Series, Maiiam Contemporary Art Museum, TO WHOM IT MAY CONCERN at Bangkok CityCity Gallery, BRANDNEW Art Project, and 365 Days: LIFE MUSE program with Baan Norg Collaborative Arts & Culture. In addition, he is a longterm collaborator of media artist Arnont Nongyao that has resulted in a number of local and regional projects supported by Outernational (Berlin), Ensemble Asia Orchestra, Japan Foundation Asia Center, and Chiang Mai Art Conversation (CAC). Currently, Thatchatham is leading a sound and time-based media lab at the Department of Media Arts and Design, Chiang Mai University. He holds a Ph.D. in music from University of California at Berkeley, and a bachelor’s degree from National University of Singapore.



See biography page 33

walkside, lost for Three Percussionists (2022)

walkside, lost is the first in a cycle of works for three percussionists, electronics, and live video processing on texts by Darcie Dennigan. Commissioned by Gaudeamus Muziekweek and premiered by Slagwerk Den Haag, the work fuses human performance with software systems that influence the behavior of multimedia, the obfuscation and recontextualization of semantic content in speech, and the way in which confusion and ambiguity distort a participant’s perception. The systems I’ve designed serve to generate reservoirs of video and audio in real-time that are recalled, manipulated, and re-composited against themselves during the live performance in various ways. Variables for video compositing and audio processing are governed by automation of distinct parameters that control the behavior of the system, resulting in visual, aural, and temporal dissonances between multimedia and human performance. To emulate organic, unpredictable behavior, noise is introduced into the system so that these automation values become weighted/biased targets rather than fixed values. – Jason Thorpe Buchanan

Guest artists

Tanasit Siripanichwattana Percussion

Wannapha Yannavut Percussion

Anusorn Prabnongbua Percussion



See biography page 31

Unheard for Bass Clarinet and Baritone Saxophone (2022)

“I have said, screamed and shouted, but it remains unheard, and you have gone.”


Pradit is a Thai sound artist, music composer, sound engineer, multimedia artist and lecturer at Rangsit University, Thailand. He started learning Thai traditional music since he was 4 years old, thus most of his works are inspired by Thai traditional music and culture. His recent honorable achievement is the winner of 2018 Silp Pirasri creativity grant by his music composition for chamber ensemble “The Ogre Dance” which deconstructed the original Thai composition to contemporary composition. His composition was performed in many countries; England, Indonesia, Malaysia, and United States. Furthermore, he worked for many artists in major and independent labels in Thailand for commercial music.

Ex Natura for Modular Synthesizer (2022)

Ex Natura is the Latin word which means by the nature in English. The condition of this composition is to create pitches, durations, timbres by using noise as the macro structure of the composition. The performer can choose to emphasize, accumulate or diminish the result according to the given random value and return the new result by performer’s choice.



Zhuosheng Jin’s music is described as “powerful” and “haunting” (The New York Times). His composition emphasises relationships between literature, especially poetry, and sonic texture. He wins 2021 Irino Prize (1st prize, Japan), 2020 Matan Givol Composers Competition (1st prize, Israel), 2020 Salvatore Martirano Award (1st prize, US), 2019 Toru Takemitsu Composition Award (3rd prize, Japan), among others. Jin’s music has been programmed in more than 20 countries. He wrote for the Tokyo Philharmonic Orchestra, Ensemble InterContemporain (soloists), Klangforum Wien (soloists), Meitar Ensemble, Quatuor Béla, Ensemble Mdi, Syntax Ensemble, and Mivos Quartet, etc., and has worked with conductors including Pierre-André Valade, Jean-Philippe Wurtz, Guillaume Bourgogne, and Kanako Abe, et al. His scores are published by BabelScores France. Jin is currently an Assistant Professor at Chinese University of Hong Kong, Shenzhen. He holds degrees from Oberlin College (BM‘15), Boston University (MM‘17), and McGill University (DMUS‘22). His teachers include Philippe Leroux, Josh Levine, and Xiaogang Ye, et al. He also followed private lessons and master-classes with Helmut Lachenmann, Beat Furrer, Pierluigi Billone, Marco Stroppa, and Stefano Gervasoni, et al.

Pale Flower I - A mini stage work for one performer, objects, and light (2019)

A pale flower is unable to fully bloom due to oppressions from invisible powers.

This series, consisting of solo pieces for percussion, harp, and flute, expresses a feeling of helplessness from individuals towards the societies they belong.



See biography page 34


I once read a comic book whose characters consist of a songwriter and a “serious” composer. (What a theme!) The storyline revolves around the different philosophies: to write something that, even if no one appreciates now, would be treasured later till the end of time, or to write something that, although no one would remember the following month, would be sung by everyone today. If you think it’s funny that I am trying to write a pop song, well, me too. But what I want is to discover the secrets of those great songs that I love—the ones that have mystified me for so long because there seems to be nothing hidden that could make them great. What you’ll hear is my attempt to discard all the nonessential things. Can a few diatonic notes and diatonic chords create some magic today? Not convincing? Me neither. So let’s see!

Guest artists

Selina Jones Keyboard Sotida Chairidchai Voice

Suchunya Tanvichien Voice

Woratep Rattana-umpawan Bass Prinda Setabundhu Visual


See page 68



Management Team

Thanakarn Schofield

Kantika Comenaphatt

Pisol Manatchinapisit

Sound Technician

SB Sound System

Video Technician

Rittichut Phetmunin Nattawat Theingsoosuk

Sitinun Sungthong


Poom Chirawattanarangsri

Tanakon Senarak

Graphic and Visual Design

Pattarapong Sripanya Nattapol Rojjanarattanangkool

Booklet Design

Krittin Theerawittayaart

Stage Team

Sakda Pharchumcharna

Thanaphoom Chinsangthip

Narat Klimthong

Watthikorn Dipprakon

Staff Krittaya Lorpiyanon

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