domingo, 31 de janeiro de 2016
Sound Walk 2008 - Electroacoustic Miniatures
Sound Walk 2008 - Electroacoustic Miniatures
As result of a international call to composers of all ages and nationalities, Sound Walk collective and original sound installation, gave the visitors of the Belém Arts Centre an oppotunity to immerse in 36 sounscapes.
142 works from 28 countries where proposed to be part of this sound installation.
"Blanc Distance" by Junya Oikawa
"Shaking Mendeleev in the Presence of a Guitar" by Rita Torres
"Cricketmusic" by Peter Eotvos
"Migrazione" by Nicola Cogliolo
"Deambulation" by António Ferreira
"Gold.Berg.Werk - Aria Electronica II" by Karlheinz Essl
"La jarra de los males" by Edith Alonso Sanchez
"La Fabrica en Horta de Ebro" by Hélder Filipe Gonçalves
"Granulations - sons do parque" by Ângela Lopes
"Dowling Pass" by Fergal
"Câmara Lenta 1" by Miguel Urbano de Figueiredo
"Remixes of Ciguri" by Felipe Andres Otondo Ruiz
"Undo" by Pedro Patrício
"BihotzBi" by Zuriñe Gerenabarrena
"Pocket Music" by Ricardo de Armas
"Soundlence" by Ingrid Obled
"Taccani Sibilla d'Autunno" by Giorgio Colombo
"Wait a Minute!" by Roderik de Man
"Sesenta cuatro campanas" by Andrián Pertout
"Roulements, Rebonds" by Jean-Louis Di Santo
"I was vaguely aware of somethinhg" by Miguel Negrão
"Ensalada Inestable" by Hernani Villaseñor
"Border" by Hugo Paquete
"wel-come" by Georg Klein
"Maile Colbert Day of Anger, Act 3" by Rui Costa
"Payri Miniature avec voix de femme" by Blas Gaston
"L'amour outragé" by Massimo Biasioni
"Movimenti" by Massimo Fragalà
"Fantasma da Tesoura" by André Rocha do Nascimento
"L'Animal du temps" by Frédéric Kahn
"LocoJazz" by Hervé Déjardin
"Suoni per Gigi" by Roberto Fabbriciani
"X-Tension SAX" by Roland Semadeni
"Chilling Effects" by Kala Pierson
"Waltz at the edge of Lorros" by Panayiotis Kokoras
"Space Warp" by Tiago Morais Morgado
"Shaking Mendeleev in the Presence of a Guitar" by Rita Torres
"Cricketmusic" by Peter Eotvos
"Migrazione" by Nicola Cogliolo
"Deambulation" by António Ferreira
"Gold.Berg.Werk - Aria Electronica II" by Karlheinz Essl
"La jarra de los males" by Edith Alonso Sanchez
"La Fabrica en Horta de Ebro" by Hélder Filipe Gonçalves
"Granulations - sons do parque" by Ângela Lopes
"Dowling Pass" by Fergal
"Câmara Lenta 1" by Miguel Urbano de Figueiredo
"Remixes of Ciguri" by Felipe Andres Otondo Ruiz
"Undo" by Pedro Patrício
"BihotzBi" by Zuriñe Gerenabarrena
"Pocket Music" by Ricardo de Armas
"Soundlence" by Ingrid Obled
"Taccani Sibilla d'Autunno" by Giorgio Colombo
"Wait a Minute!" by Roderik de Man
"Sesenta cuatro campanas" by Andrián Pertout
"Roulements, Rebonds" by Jean-Louis Di Santo
"I was vaguely aware of somethinhg" by Miguel Negrão
"Ensalada Inestable" by Hernani Villaseñor
"Border" by Hugo Paquete
"wel-come" by Georg Klein
"Maile Colbert Day of Anger, Act 3" by Rui Costa
"Payri Miniature avec voix de femme" by Blas Gaston
"L'amour outragé" by Massimo Biasioni
"Movimenti" by Massimo Fragalà
"Fantasma da Tesoura" by André Rocha do Nascimento
"L'Animal du temps" by Frédéric Kahn
"LocoJazz" by Hervé Déjardin
"Suoni per Gigi" by Roberto Fabbriciani
"X-Tension SAX" by Roland Semadeni
"Chilling Effects" by Kala Pierson
"Waltz at the edge of Lorros" by Panayiotis Kokoras
"Space Warp" by Tiago Morais Morgado
domingo, 24 de janeiro de 2016
Northern Twilights Tape Release
Tiago Morais Morgado - Prime Spiral EP
Format: Tape
Releasedate: 2012
Label: Northern Twilights
Releasedate: 2012
Label: Northern Twilights
Gonzo Circus Mixtape feat. Tiago Morais Morgado
Gonzo Circus is a publication similar to Wire: Adventures in Modern Music, original from Benelux. This Mixtape Features An Improvisation of Mine Alongside with stuff from friends
Tiago Morais Morgado Supercollider Code (Modifying Scott Wilson Supercollider Book Examples)
http://sccode.org/1-4X5
/*I would like to thank Stelios Manousakis and Darien Brito for some insights on sc3 programming*/
(
{
var a, b, c;
a = ({Mix.new(Array.fill(rrand(20,200),SinOsc.ar([[LFDNoise0,LFClipNoise, LFDClipNoise, LFDNoise1, LFDNoise3, LFNoise0, LFNoise1, LFNoise2].choose.kr(rrand(6,12), mul: rrand(60,600), add: rrand(500,2000)), [LFClipNoise, LFDClipNoise, LFDNoise1, LFDNoise3, LFNoise0, LFNoise1, LFNoise2].choose.kr(rrand(6,12), mul: rrand(60,1200), add: rrand(100,200))], 0.3)))*0.0015});
b = ({Mix.new(Array.fill(rrand(2,200),{[RLPF, Formlet,Resonz,Ringz].choose.ar([Dust,Dust2, Blip].choose.ar([12, 15]), [LFClipNoise, LFDClipNoise, LFDNoise0, LFDNoise1, LFDNoise3, LFNoise0, LFNoise2].choose.ar(1/[3, 4], 1500, 1600), 0.02)})) * 0.03});
c = ({Mix.new(Array.fill(200,[CombN, CombC, CombL].choose.ar([SinOsc,FSinOsc, SinOscFB].choose.ar(midicps([LFNoise1,LFClipNoise, LFDClipNoise, LFDNoise0, LFDNoise1, LFDNoise3, LFNoise0, LFNoise2].choose.ar((rrand(1,3)), (rrand(12,48)),[LFSaw,LFCub, LFPar, LFPulse, LFTri, Saw
].choose.ar([(rrand(2.5,10)), (rrand(2.5,5.123*2))], 0, (rrand(1.5,6)), rrand(40,160)))),0, rrand(0.2,0.8)),rrand(0.5,2), (rrand(0.5,0.6)), (rrand(1,4))))) * 0.0004});
Out.ar(0, LeakDC.ar(Mix.new([a+b+c]))) * 0.3;}.scope
)
sábado, 23 de janeiro de 2016
check my template for GPGPU audio DSP using OpenGL, and C++ code, generated by MaxMSP. hope you like it
https://github.com/nacthstucksoftware/-NS-01-Tiago-Morais-Morgado---Jitter-Gen-OpenGL-Audio-DSP-Computation-Template
https://github.com/nacthstucksoftware/-NS-01-Tiago-Morais-Morgado---Jitter-Gen-OpenGL-Audio-DSP-Computation-Template
Karlheinz Essl Ruderal - first edition of nachtstuck records, featuring mastering work by Tiago Morais Morgado
Tiago Morais Morgado cronicaster 95 among the nominations for best recording of the year, according to miguel carvalhais in four
I am proud to announce that i recently checked, that my friend Miguel Carvalhais, actually considered my cronicaster 95, from his label cronica electronica, one of the best releases of the year 2012. It was a while ago, but only now i checked this. thanks, miguel
MIGUEL CARVALHAIS
{editora Crónica; @c}
{editora Crónica; @c}
DISCOS:
Florian Hecker “Chimerization” (Editions Mego)
Mika Vainio “FE3O4 – Magnetite” (Touch)
Monty Adkins “Four Shibusa” (Audiobulb)
Brian Eno “Lux” (Warp)
Sylvain Chauveau & Stephan Mathieu “Palimpsest” (Schwebung)
Rolf Julius “Raining” (Western Vinyl)
Florian Hecker “Chimerization” (Editions Mego)
Mika Vainio “FE3O4 – Magnetite” (Touch)
Monty Adkins “Four Shibusa” (Audiobulb)
Brian Eno “Lux” (Warp)
Sylvain Chauveau & Stephan Mathieu “Palimpsest” (Schwebung)
Rolf Julius “Raining” (Western Vinyl)
COISAS:
A residência com o Evan Parker — e uma dúzia e meia de músicos excepcionais — organizada pelo JACC em Pedrogão Pequeno;
O concerto do @c com o Carlos Zíngaro, no Porto;
A participação no ICMC 2012 com o André Rangel, em Ljubljana;
As edições na Crónica: Stephan Mathieu & David Maranha, Francisco López, Piotr Kurek, Ephraim Wegner & Julia Weinmann, Quarz, Luís Marte, Arturas Bumšteinas; e os podcasts: Refusenik, Hugo Paquete, Durán Vázquez, @c, Gintas K, Phonic Psychomimesis, Alexandr Vatagin, Jazznoize, Tiago Morais Morgado, Micromelancolié, Mosaique, Manuel Mota, Carlos Santos, Marc Behrens, Pure e Piotr Kurek;
As reedições na série Recollection GRM da Editions Mego.
A residência com o Evan Parker — e uma dúzia e meia de músicos excepcionais — organizada pelo JACC em Pedrogão Pequeno;
O concerto do @c com o Carlos Zíngaro, no Porto;
A participação no ICMC 2012 com o André Rangel, em Ljubljana;
As edições na Crónica: Stephan Mathieu & David Maranha, Francisco López, Piotr Kurek, Ephraim Wegner & Julia Weinmann, Quarz, Luís Marte, Arturas Bumšteinas; e os podcasts: Refusenik, Hugo Paquete, Durán Vázquez, @c, Gintas K, Phonic Psychomimesis, Alexandr Vatagin, Jazznoize, Tiago Morais Morgado, Micromelancolié, Mosaique, Manuel Mota, Carlos Santos, Marc Behrens, Pure e Piotr Kurek;
As reedições na série Recollection GRM da Editions Mego.
2012:
A crise está inevitavelmente no centro de todas as preocupações. Mais do que os seus efeitos directos (que são muitos, e são dramáticos) ao perspectivar um novo ano, e aqueles que o seguirão, é inevitável pensar também nos seus efeitos indirectos, porventura mais duros e mais duradouros. A crise já não é só financeira, é também cultural e moral, e as suas repercussões fazem-se sentir a todos os níveis das nossas actividades… Não acredito que 2013 seja já um ano de viragem, mas espero estar enganado e vir a encontrar algum optimismo durante os próximos meses.
A crise está inevitavelmente no centro de todas as preocupações. Mais do que os seus efeitos directos (que são muitos, e são dramáticos) ao perspectivar um novo ano, e aqueles que o seguirão, é inevitável pensar também nos seus efeitos indirectos, porventura mais duros e mais duradouros. A crise já não é só financeira, é também cultural e moral, e as suas repercussões fazem-se sentir a todos os níveis das nossas actividades… Não acredito que 2013 seja já um ano de viragem, mas espero estar enganado e vir a encontrar algum optimismo durante os próximos meses.
2013:
Não querendo colocar no centro o meu projecto, espero que a Crónica consiga continuar activa durante mais este ano (o décimo!) apesar das permanentes dificuldades…
Não querendo colocar no centro o meu projecto, espero que a Crónica consiga continuar activa durante mais este ano (o décimo!) apesar das permanentes dificuldades…
Tiago Morais Morgado @ 60*60 VoxNovus in Münster
Greetings everyoneI am pleased to announce that the 60*60 VoxNovus Mixtape I am part of, featuring pieces curated in a call for works curated by Hans Tammen was played in 16/1/2016, in Münster, Germany, after its premiere a while ago in Harvestworks NYCVoxNovus 60×60 Surround Sound WorksVox Novus and Harvestworks invited composers and sound artists to submit recorded works as 5.1 audio 60 seconds or less in length to be included in a special 60×60 project collaboration in New York City. After he original presentation at Harvestworks’ multichannel TEAMLab listening space in May 2014, the work is now available in other sound galleries and performance spaces.
Curated by Hans Tammen
Sat, Jan 16, 7pm
Admission: FREE
Location: cuba cultur – WebsiteAchtermannstr. 10 – 12
D-48143 Münster
60×60 is a one-hour-long show made by sequencing 60 pre-recorded pieces by 60 different composers, each piece a minute in length or shorter. A unique collaboration between VoxNovus / Robert Voisey and Harvestworks / Hans Tammen in New York City to create a 5.1 surround sound mix, this 60×60 presentation the work is now available in sound galleries and performance spaces. See the list of works below!Every one-minute piece will be played continuously without pause. Each of the 60 pieces will begin precisely at the beginning of the minute, this will mark the end of one piece and the beginning of another.
Composers included are: Jeff Anderson, Daniel Bartos, Simon Belshaw, Jason Bolte, Mike Boyd, Andrei Branea, Arnold Brooks, Steve Bull, Jeremy Van Buskirk, Alejandro Casales, Ian Corbett, Douglas DaSilva, Jamez Dean, Blake Degraw, Rob Dietz, Lorenz Erdmann, Bit.Seq~ (Fred Feeney), Josh Feldman, John Ferguson, Matt Fidler, Tim Fodness, Enrico Francioni, Richard Garrett, Guiseppe Gavazza, Nate Goossen, Scott Gresham-Lancaster, Jenn Grossman, Samuel Hertz, Jason Hoffman, judsoN, Vivek Karun, John Kehoe, Andrew Levine, Jörg Lindenmaier, Buddy Lorentz, Nicolas Marty, Mike McFerron, Claudi Meneghin, Tiago Morais, Dafna Naphtali, Daniel Neumann, Serban Nichifor, Hull Pacific, Maggi Payne, Chris Peck, Samuel Pellman, Patrick Pham, Julien Poidevin, Kevin Ramsay, Cody Ranaldo, Steve Reinthal, Lorin Roser, Josh Simmons, Mary Simoni, David Jason Snow, J Sohn, Yuri Spitsyn, Ariane St.Louis, Hans Tammen, Jamie Todd, A. P. Vague, Robert Voisey, Jaeseong Wu, and Xo Xinh
A word from the curator
Setting out to assemble one hour of music from the breathtaking range of submissions we received, it became clear that I had to approach the task in the same way I would create a composition. Does it have a beginning, middle and end, and possibly multiple movements? Is it organized in a non-linear or abstract way, perhaps by algorithmic means? (Organizing it in alphabetical order would be a simple example of algorithmic organization.) Or could I simply create sections by grouping all the pieces that are similar in style, instrumentation (we got swamped with works using synthesis), or even the way the composer handles spatialization?
I opted for a more traditional, narrative approach, constructing the piece with a beginning and an end in mind. In fact, the “bookends” were the first pieces I chose. I then squeezed several movements in between those two bookends, some movements morphing smoothly into the next, others sharply contrasting those before or after.
Finding the right combinations took time. Whether I was looking for contrast or for a smooth transition, the ending of one piece determined what I was looking for in the next piece. I have to admit that I cheated a few times when it came to pieces that were shorter than 60 seconds. Instead of starting at 0’00” and adding the silence at the end (as we announced we would do), in some cases I added silence at the beginning to make the flow to the next piece more organic and natural.
Sadly, I had to reject many a good work because it simply didn’t fit between other chosen pieces. I remember spending more than half an hour on one single piece alone that I couldn’t find a spot for. Though I liked it a lot, however, it had a very peculiar beginning, that I was by no means able to make work in conjunction with other pieces. However, since we would have had to reject around 70 pieces anyway, I finally let it go.
Let’s talk about numbers here… we received 160 submissions, around 30 we had to reject because they didn’t have anything to do with our call requesting surround sound works. Robert & I divided the remaining 130 submissions into approx. 40 “yes”, 70 “maybe” and 20 “no” categories. As you can guess from my earlier explanation, the finalists were chosen from all of those categories, because they worked well within their surroundings (pun intended).
So what do you hear during this one-hour show? There are the soft and almost inaudible works, those that work more with pauses than with sounds. Field recordings, voices singing or talking, acoustic instruments, electronics and analog synthesis – the latter often frantic outbursts of sound mass. Some works you can dance to, some you can sing to, many others not, although that’s up to you, of course. Some works will sound strangely familiar until you realize they are a take on another famous work, I placed them in one of the “surprise” spots. I don’t like to be too serious, so there are a couple of surprises in store for you, and maybe you can spot them when you attend one of our presentations.
Since this exhibit is about multichannel sound, we chose a few works that are exemplary in terms of spatialization of sounds, while most others employ these means in a more subtle way. Everything you can do beyond stereo with 5.1 channels is there: 5.1, 5.0, 4.1 and 4.0. There is even a 3.1 work, it does spatialization solely with the center and rear speakers.
If you are interested in artistic approaches to multichannel sound, come to one of our “5.1 60×60” shows at some point, or listen to our Surround Sound DVD (yes, we’re producing a DVD from it). You get a good overview over the various artistic approaches to multichannel sound. As long as it fits within the 5.1 DVD standard: we can just drop the DVD in the mail in case you’re interested in hosting this show on the other side of the planet. Of course, we need to discuss other things beforehand, but still – the whole show fits on one DVD.
I have to thank Robert Voisey for giving me the opportunity to curate a multichannel 60×60 work for Vox Novus; our audio engineer Kevin Ramsay for working hard on assembling and organizing all the works; Katie Sundsted creating all the text materials; and Matt Fidler to assemble the video that goes along with the audio showing the titles of the work and composer’s names. And of course, my most heartfelt thanks go out to all the composers who submitted their works to us. It’s them who made this show interesting and inspiring.
Hans Tammen, April 2014
List Of Works
Last Presentation: Jan 16, 2016: CUBA, Münster, Germany.
Curated by Hans Tammen
Sat, Jan 16, 7pm
Admission: FREE
Location: cuba cultur – WebsiteAchtermannstr. 10 – 12
D-48143 Münster
60×60 is a one-hour-long show made by sequencing 60 pre-recorded pieces by 60 different composers, each piece a minute in length or shorter. A unique collaboration between VoxNovus / Robert Voisey and Harvestworks / Hans Tammen in New York City to create a 5.1 surround sound mix, this 60×60 presentation the work is now available in sound galleries and performance spaces. See the list of works below!Every one-minute piece will be played continuously without pause. Each of the 60 pieces will begin precisely at the beginning of the minute, this will mark the end of one piece and the beginning of another.
Composers included are: Jeff Anderson, Daniel Bartos, Simon Belshaw, Jason Bolte, Mike Boyd, Andrei Branea, Arnold Brooks, Steve Bull, Jeremy Van Buskirk, Alejandro Casales, Ian Corbett, Douglas DaSilva, Jamez Dean, Blake Degraw, Rob Dietz, Lorenz Erdmann, Bit.Seq~ (Fred Feeney), Josh Feldman, John Ferguson, Matt Fidler, Tim Fodness, Enrico Francioni, Richard Garrett, Guiseppe Gavazza, Nate Goossen, Scott Gresham-Lancaster, Jenn Grossman, Samuel Hertz, Jason Hoffman, judsoN, Vivek Karun, John Kehoe, Andrew Levine, Jörg Lindenmaier, Buddy Lorentz, Nicolas Marty, Mike McFerron, Claudi Meneghin, Tiago Morais, Dafna Naphtali, Daniel Neumann, Serban Nichifor, Hull Pacific, Maggi Payne, Chris Peck, Samuel Pellman, Patrick Pham, Julien Poidevin, Kevin Ramsay, Cody Ranaldo, Steve Reinthal, Lorin Roser, Josh Simmons, Mary Simoni, David Jason Snow, J Sohn, Yuri Spitsyn, Ariane St.Louis, Hans Tammen, Jamie Todd, A. P. Vague, Robert Voisey, Jaeseong Wu, and Xo Xinh
A word from the curator
Setting out to assemble one hour of music from the breathtaking range of submissions we received, it became clear that I had to approach the task in the same way I would create a composition. Does it have a beginning, middle and end, and possibly multiple movements? Is it organized in a non-linear or abstract way, perhaps by algorithmic means? (Organizing it in alphabetical order would be a simple example of algorithmic organization.) Or could I simply create sections by grouping all the pieces that are similar in style, instrumentation (we got swamped with works using synthesis), or even the way the composer handles spatialization?
I opted for a more traditional, narrative approach, constructing the piece with a beginning and an end in mind. In fact, the “bookends” were the first pieces I chose. I then squeezed several movements in between those two bookends, some movements morphing smoothly into the next, others sharply contrasting those before or after.Finding the right combinations took time. Whether I was looking for contrast or for a smooth transition, the ending of one piece determined what I was looking for in the next piece. I have to admit that I cheated a few times when it came to pieces that were shorter than 60 seconds. Instead of starting at 0’00” and adding the silence at the end (as we announced we would do), in some cases I added silence at the beginning to make the flow to the next piece more organic and natural.
Sadly, I had to reject many a good work because it simply didn’t fit between other chosen pieces. I remember spending more than half an hour on one single piece alone that I couldn’t find a spot for. Though I liked it a lot, however, it had a very peculiar beginning, that I was by no means able to make work in conjunction with other pieces. However, since we would have had to reject around 70 pieces anyway, I finally let it go.
Let’s talk about numbers here… we received 160 submissions, around 30 we had to reject because they didn’t have anything to do with our call requesting surround sound works. Robert & I divided the remaining 130 submissions into approx. 40 “yes”, 70 “maybe” and 20 “no” categories. As you can guess from my earlier explanation, the finalists were chosen from all of those categories, because they worked well within their surroundings (pun intended).
So what do you hear during this one-hour show? There are the soft and almost inaudible works, those that work more with pauses than with sounds. Field recordings, voices singing or talking, acoustic instruments, electronics and analog synthesis – the latter often frantic outbursts of sound mass. Some works you can dance to, some you can sing to, many others not, although that’s up to you, of course. Some works will sound strangely familiar until you realize they are a take on another famous work, I placed them in one of the “surprise” spots. I don’t like to be too serious, so there are a couple of surprises in store for you, and maybe you can spot them when you attend one of our presentations.
Since this exhibit is about multichannel sound, we chose a few works that are exemplary in terms of spatialization of sounds, while most others employ these means in a more subtle way. Everything you can do beyond stereo with 5.1 channels is there: 5.1, 5.0, 4.1 and 4.0. There is even a 3.1 work, it does spatialization solely with the center and rear speakers.
If you are interested in artistic approaches to multichannel sound, come to one of our “5.1 60×60” shows at some point, or listen to our Surround Sound DVD (yes, we’re producing a DVD from it). You get a good overview over the various artistic approaches to multichannel sound. As long as it fits within the 5.1 DVD standard: we can just drop the DVD in the mail in case you’re interested in hosting this show on the other side of the planet. Of course, we need to discuss other things beforehand, but still – the whole show fits on one DVD.
I have to thank Robert Voisey for giving me the opportunity to curate a multichannel 60×60 work for Vox Novus; our audio engineer Kevin Ramsay for working hard on assembling and organizing all the works; Katie Sundsted creating all the text materials; and Matt Fidler to assemble the video that goes along with the audio showing the titles of the work and composer’s names. And of course, my most heartfelt thanks go out to all the composers who submitted their works to us. It’s them who made this show interesting and inspiring.
Hans Tammen, April 2014
List Of Works| Composer | Work | Format |
|---|---|---|
| Guiseppe Gavazza | iSix | 5.1 |
| Chris Peck | Equal Time | 3.1 |
| Alejandro Casales | Adsem Varien | 5.1 |
| Andrei Branea | Electric Organisms | 5.0 |
| Tiago Morais Morgado | Pendulum | 5.1 |
| Xo Xinh | Contagion I | 4.0 |
| Vivek Karun | Beasts of the Wild | 5.0 |
| David Jason Snow | Steampunk Enema | 5.0 |
| Jenn Grossman | Submerged | 5.1 |
| Daniel Bartos | Lost In Heat – The Swell Season | 4.0 |
| Dafna Naphtali | Audio Chandelier: Fry | 5.1 |
| Robert Voisey | Harvest of Change | 4.0 |
| Rob Dietz | syn_entia – astor | 5.1 |
| Julien Poidevin | Mnémosyne | 4.0 |
| Samuel Hertz | ALX/Spanish Maiden | 5.1 |
| Josh Feldman | Orchid | 5.1 |
| Lorin Roser | Strange Attractor Blues | 5.0 |
| Enrico Francioni | Pluck! | 5.1 |
| Jamie Todd | Dis Assembly Line | 4.1 |
| Jason Hoffman | Sisyphus | 5.1 |
| Nathaniel Goossen + Kevin Ramsay | Meraki | 4.0 |
| Steve Bull + Scott Gresham-Lancaster | Cellphonia: Toronto | 5.1 |
| Matt Fidler | Working Apartment | 4.0 |
| Nicolas Marty | Sephiroth | 5.1 |
| judsoN | Closed-circuitry for Violoncello and Harmonics | 5.1 |
| Mike Boyd | invasion/symbiosis (III) | 4.0 |
| Hans Tammen | Bowed Styrofoam #3 | 5.1 |
| Bit.Seq~ (Fred Feeney) | 17 (Waltz) | 4.0 |
| Ariane St.Louis | Crickets Gone Wild | 5.0 |
| Richard Garrett | November | 4.0 |
| Mary Simoni | quotations from questions that tempt the sleeper | 5.1 |
| Andrew Levine | BRAC-CRAS | 5.1 |
| Claudi Meneghin | Cuckoo-Rag Fugue | 5.0 |
| Ian Corbett | Steak, With a Side of Pie. Key Lime Pie. | 5.0 |
| Serban Nichifor | Chat Sonification On A Theme By Stefan Trausan-Matu | 5.0 |
| Tim Fodness | Untitled Suggestions (Untitled #2) | 4.1 |
| Jason Bolte | Dreams | 5.0 |
| Blake Degraw & Jeff Anderson | 42”18” | 5.1 |
| Daniel Neumann | Off Hours | 5.1 |
| Jeremy Van Buskirk | Counter-Motive II | 5.0 |
| Yuri Spitsyn | Rhythmiconians Minutely | 5.1 |
| Maggi Payne | Space60 | 4.0 |
| A. P. Vague | #92 | 5.1 |
| Arnold Brooks | Rain in July | 5.1 |
| Jörg Lindenmaier | Vivax | 5.0 |
| Buddy Lorentz | Gymnopedie Minus 1 | 4.0 |
| Steve Reinthal | In Spring Time | 5.1 |
| J Sohn | An Intricate Moment | 5.0 |
| Cody Ranaldo | Riff x 5 | 5.0 |
| Hull, Pacific, and Manifest | Outboard | 5.1 |
| Josh Simmons | blue god hum gently fractures back of skull melting away duality (2013) | 5.1 |
| John Ferguson | birds singing ah urgh | 5.1 |
| Samuel Pellman | Resolve | 4.0 |
| Simon Belshaw | Music Machine 31 | 4.0 |
| Mike McFerron | 30 Bars of Sound | 5.0 |
| Jaeseong You | Remix2_Dance Music 08 | 5.0 |
| Douglas DaSilva | Carqueja | 4.0 |
| Patrick Pham | Sabotage | 4.0 |
| Lorenz Erdmann | Mare Belualis | 5.1 |
| Jamez Dean | This Is The End | 5.1 |
| John Kehoe | Once Was | 5.1 |
Announcing further concerts in 2016
Ending and starting the year of 2015-2016, with three concerts, one in Lisbon, one in Seis, and another in Braga, I am pleased to announce that I will come back to Lisbon to play on a local bookstore on the 27th of April (2 days after the commemoration of the portuguese independence day). The concert is promoted and organised by fata morgana produções.
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Stelios Manousakis + Tiago Morais Morgado @ Vertixe Experimenta Series Dec 2014
Stelios Manousakis + Tiago Morais Morgado @ Vertixe Experimenta Series Dec 2014
http://heyevent.com/event/2gabb2wfqbblea/vertixeexperimenta14-stelios-manousakis-tiago-morais-morgado
http://heyevent.com/event/2gabb2wfqbblea/vertixeexperimenta14-stelios-manousakis-tiago-morais-morgado
Tiago Morais Morgado Operibus Sigilum Dei Aemeth in ICMC-SMC 2014
Portuguese Composer Tiago Morais Morgado, had his piece in operibus sigilum dei aemeth played in ICMC-SMC 2014 computer music conference
Tiago Morais Morgado nos dias de música electroacústica
Festival DME
24 | 42
Dias de Música Electroacústica
27-30 Dez 2015 | Seia / Gouveia
Trata-se da 24ª edição do Festival DME a decorrer na região da Serra da Estrela e a 42ª de todas as edições que decorreram desde a primeira edição do festival (em 2003, em Cracóvia), em lugares como: Brasil, Filipinas, Madrid, Lisboa, Porto, Algarve, e.o.
27 a 30 de dezembro, em Seia e Gouveia.
Nesta edição destacam-se os convidados franceses Jean-Sébastien Béreau, cuja estreia de uma obra encomendada pelo Festival DME decorrerá em Gouveia pela pianista Ana Telles e o compositor Paul Méfano, ambos ex-professores no Conservatório Superior de Música de Paris, num recital para piano dedicado a alunos do compositor Darius Milhaud, no Teatro Cine de Gouveia, dia 27 de Dez.
No dia 28 Dez., na Casa Municipal das Artes de Seia, o saxofonista Henrique Portovedo interpretará repertório inovador com peças de Risset, Barlow, Rui Penha e outras peças, incluindo estreias nacionais. Portovedo partilhará o seu concerto com os jovens concorrentes do concurso Nano Músicos Electroacústicos 2015, este ano dedicado a saxofonistas que interpretem uma peça da jovem compositora de 18 anos, Mariana Ramalhete Vieira (vencedora do prémio Nano Músicos Electroacústicos 2014).
No dia seguinte, também em Seia, a pianista Joana Gama, que estreará uma obra encomendada pelo Festival DME ao compositor Tiago Cutileiro, que utiliza sons gravados na Serra da Estrela na sua obra.
O festival termina no dia 30 Dez. com um concerto dedicado à música electroacústica, com a clarinetista Rita Almeida, o improvisador electrónico Tiago Morgado e música de compositores portugueses como Eduardo Patriarca, Angela da Ponte, João Marques, Edward Luiz Ayres d'Abreu, Joan Bagés Rubí, Tiago Lestre, Miguel Azguime, Helder Gonçalves, António Ferreira, Luís Antero, entre outros.
Programa
27 Dez - Teatro Cine Gouveia
18h - Conferência: Paul Méfano
21h30 - Concerto: Ana Telles (piano e electrónica) - "Discípulos de Darius Milhaud" - Paul Méfano (1937) - Mémoire de la porte blanche # – 1991; Claude Lefèbvre (1931-2012) - Mobile für Jürgen # – 1997; Jean-Sébastien Béreau (1934) - Fragments de mémoire +* – 2015
28 Dez - Casa Municipal das Artes / Conservatório de Música de Seia
21h30 - Concerto: Música Electroacústica + finalistas do Concurso Nano Músicos Electroacústicos 2015 interpretando Mariana Ramalhete Vieira
Ângela da Ponte
António Sousa Dias
João Pedro Oliveira +
João Marques +
Joan Bagés Rubí #
Rui Dias
Tiago Lestre
Tiago Morgado
29 Dez - Casa Municipal das Artes / Conservatório de Música de Seia
11h - Workshop: Henrique Portovedo - "Introduction to creative technology in musical performance"
21h30 - Concerto: Tiago Cutileiro — s122015 (para Piano c/ ebows, Melódica e Field Recordings) — Joana Gama, piano e melódica +*
30 Dez - Casa Municipal das Artes / Conservatório de Música de Seia
15h - Conferência: Joana Gama e Tiago Cutileiro (moderador: Miguel Rocha)
17h00 - Concerto - Música Electroacústica - PARTE 1
Henrique Portovedo (saxofone e electrónica): Jean-Claude Risset - "Saxatile"; Michael Edwards - "Breathing Charlie"; Clarence Barlow - "Approximating Pi" #; Simone Movio - "Zahir III" #; Rui Penha - "No Man is an Island" + Música Electroacústica
18h30 - Evento surpresa
19h00 - Concerto - Música Electroacústica - PARTE 2
Rita Almeida (clarinete),
Francisco Morais Franco (guitarra)
e música de compositores como
António Ferreira
Duarte Dinis Silva
Eduardo Patriarca
Edward Luiz Ayres d'Abreu
Gustavo Costa
Helder Gonçalves
Luís Antero +
Luis Marques
Miguel Azguime
Paul Méfano #
# estreia em Portugal;
+ estreia mundial;
* Encomenda Festival DME.
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