Ji Youn Kang’s annual WFS festival will take place on 3 and 4 June 2022 in Sonology’s New Music Lab. Works will be performed by Ran Perry, Paolo Piaser. Anni Nöps, Ida Hirsenfelder, Henri Colombat, Suzana Lașcu, Otso Aho, Hugo Lioret, Margot Domart, Leslee Smucker, Casper Schipper, Bjarni Gunnarsson, Siamak Anvari, Lou Kim, Luca Faraldi, Alberto Tombolan and Kristin Norderval.
We are pleased to invite you to the last Sonology Discussion Concert of the academic year 2021–22 on Saturday 14 May 2022. We have an exciting programme with multichannel fixed media compositions, collaborative works, music for violin, saxophone and electronic sounds, music for prepared electric guitar, improvised music and more. The concert will start at 19:30 sharp and entrance to the hall is not possible once the concert has started. A free drink will be served during the intermission. We look forward seeing you there!
On Thursday 28 April at 19:00, our Erasmus guest from Turin Stefano Bassanese and our Konrad Boehmer Visiting Professor Veniero Rizzardi will give a lecture about the electroacoustic music of Mauricio Kagel (1931–2008)in the New Music Lab.
On Friday 29 April at 16:00, Richard Barrett will give a lecture in the New Music Lab about Kagel’s famous composition Acustica. This lecture will lead into a live performance of Kagel’s rarely performedAcustica under supervision of Stefano Bassanese with Pietro Caramelli, Stefano Cicerone, Andrea Marazzi, Matteo Martino and Federico Primavera, students from the Conservatorio di Musica Giuseppe Verdi,starting at 19:00.
On Saturday 30 April from 12:00 till 16:00, Bassanese and his students will give a workshop in the New Music Lab with their self-built Acustica instruments. The New Music Lab is on the sixth floor of the Amare building. The Royal Conservatoire’s entrance is at Turfhaven 7, 2511 DK, The Hague.
The second Sonology Concert at the Toonzaal in Den Bosch will take place on 22 April 2022, 20:30. Before the intermission there will be multichannel acousmatic music by Margherita Brillada and Marija Rasa Kudabaite. After the intermission we present an acousmatic version of the first two parts of Kurt Schwitters’ Ursonate made by Marie Guilleray and Kees Tazelaar, and Muziek voor het Maasproject by Jan Boerman in a spatial version that was recently made for the open-air installation Sounding the Spui.
More information can be found here: https://www.willem-twee.nl/alle-activiteiten/studio4-sonologie-concert-22-april
On Saturday 9 and Sunday 10 April 2022, the Spuiplein in the city centre of The Hague will be transformed into the site of an immersive, sonic experience that channels sounds sourced from The Hague by a variety of composers, sound artists, students and school children. Sounding the Spui is in an open-access sound installation in the heart of the city. The work will temporarily compress The Hague’s geography into a single space in the city centre. An extensive loudspeaker system is installed to immerse Spuiplein into other acoustic spaces from the city. All kinds of audience are welcome to experience the installation: invitees and passersby, experts and amateurs, young and old. The temporal structure of the installation is modular, meaning reputation and permutation of the ‘pure’ recordings and musical compositions is possible. This results in a constant dialogue between recognizable sounds, environmental sounds and compositional work.
The sounds of the modern city have been an inspiration for composers since the early 20th Century. Composers like Luigi Russolo, Edgard Varèse and Arseny Avraamov integrated elements of the industrial soundscape into their music. The technology of audio recording and transmission allowed musicians to capture, work with, and broadcast sound, leading to Walter Ruttman’s Weekend, Pierre Schaeffer’s Nocturne aux chemins de fer and Maryanne Amacher’s live sound-streams. Soundwalk pieces like Max Neuhaus’s Listen composed the environmental listening experience itself. The industrial music of the 1980s and the advent of digital sampling injected urban sounds into popular music.
For Sounding the Spui, students from the Royal Conservatoire and schoolchildren gathered both the ordinary and the extra-ordinary sounds of The Hague. Edited, mixed and re-worked, these sounds are then folded back onto the Spuiplein in a shifting collage-like stream of sound which often mimics and dissolves into the existing soundscape.
Composition Sounding the Spui: Otso Aho, Riccardo Ancona, Nursinem Aslan, Justin Bennett, Tristan Beutter, David Bilek, Je Min Choi, Henri Colombat, Margot Domart, Jacob Eckhard, Gaia Heichal, Ida Hirsenfelder, František Hruška, Hugo Lioret, Oksana Mukosii, Kristin Nordeval, Danya Pilchen, Leslee Smucker, Kees Tazelaar.
Extra recordings by, among many others: Iz Abad Manning, Margarida Albino, Tammam Azzam, Gabij Gaigalaite, Cis De Gendt, Bokyoung Kim, Anna Khvyl, Suzana Lașcu, Myrto Nizami, Adomas Palekas, David Petráš, Noemi Savková, Eric So-Ho Chi, Sophie Voogd, Ziming Zhao.
In addition to this slowly evolving installation, we have chosen to present a number of individual compositions related to the city at specific times:
Saturday 9 April:
12:00 excerpts from De Promenoir van Mondriaan (collaborative work from 1994, supervised by Dick Raaijmakers) 14:00 BMB Con. – Hei 1988 15:30 performance by school children under supervision of Hilde Wollenstein 17:30 Martin Hurych – Takeaway#3: Four shifts 18:00 Hilde Wollenstein: Please stop yelling at me, I don’t know what I want. 19:00 Electroacoustic Music from Ukraine 19:30 Jan Boerman – Maasproject 20:00 Margherita Brillada – Il Tempo Sospeso 20:30 Constant – excerpt from New Babylon(arrangement/mix by Justin Bennett) 21:00 Kees Tazelaar – Luchtveld 21:30 Kim Ho – Máni 22:00 end
Sunday 10 April:
12:00 excerpt from De Promenoir van Mondriaan (collaborative work from 1994, supervised by Dick Raaijmakers) 13:00 BMB Con. – Hei 1988 13:30 Hilde Wollenstein: Please stop yelling at me, I don’t know what I want. 15:00 Julio Molina Moya – Haagse Markt 2016 16:00 Jan Boerman – Maasproject 17:00 end
Sounding the Spui is realised by students of Sonology, Composition and ArtScience at the Royal Conservatoire of The Hague, in collaboration with alumni. Sounding the Spui intends to emphasise the Royal Conservatoire and new venue Amare as integral parts of the city centre and public domain of The Hague.
Production: Lustr Audio Technique: Peitsman
Sounding the Spui was made possible thanks to the support of private benefactors, the Konrad Boehmer Foundation and Société Gavigniès.
With thanks to the dancers of the NDT, and the many other unwitting contributors – the human and non-human inhabitants of The Hague.
This two-day programme is organised in collaboration with the Centro di Sonologia Computazionale in Padova, the Archivio Luigi Nono in Venice and the Groupe de Recherches Musicales in Paris. It consists of acousmatic (versions of) works by Henk Badings, Beatriz Ferreyra, Luigo Nono, Teresa Rampazzi, Jean-Claude Risset and Iannis Xenakis, and a compilation of excerpts from the collaborative music-theatre piece Die glückliche Hand geöffnet, realised in 1993 by students and teachers from ArtScience, Composition and Sonology at the Royal Conservatoire under supervision of Dick Raaijmakers.
All concerts will start at 19:30 sharp, doors open at 19:15. Entrance and a drink during the intermission are free.
This is the fourth Sonology Discussion Concert of the Academic Year 2021–22. On the programme are acousmatic compositions by David Bilek and Marie Guilleray, a live performance by Kim Mai Thordsen and Ran Perry, improvised composition by Anne La Berge, Richard Barrett and students of the Collaborative Music Creation minor, a piece for clarinet, fixed media, video and audience participation by Allesandro Gambato, a piece by Lucie Nezri for harpsichord and computer, and live computer music by Farzaneh Nouri and Hugo Lioret.
The concert will start at 19:30 sharp, doors open at 19:15. Entrance and a drink during the intermission are free.
This collection of recordings aims to showcase music produced at the Institute of Sonology, including works with analogue modular synthesis, algorithmic compositions, live electronic music, and compositions based on field recordings.
Justin Bennett – Aura
Bjarni Gunnarsson – Cendres
Kees Tazelaar – Berglandschap
Sonology Electroacoustic Ensemble – 20200129
Project & Artist information contained in the booklet that accompanies this LP has been included in Braille. The objective is for the contents to reach as many people as possible, this is also why the information has also been translated into 11 languages; Arabic, Dutch, French, German, Hebrew, Italian, Japanese, Mandarin, Portuguese, Russian, and Spanish (accessible via QR code provided in the last page of the booklet).
In partnership with the Institute of Sonology at the Royal Conservatoire The Hague and with the support of the French Institute of the Netherlands, the Alliance Française Rotterdam announces the arrival of the Soundscape festival!
April 2022 will be dedicated to the discovery of the notion of “soundscape”, through several cultural events. By the way, do you know what it is? Establishing a relationship between sound and environment, this concept can be about listening to a place as well as creating music. Find out more during the festival!
A cycle of 3 workshops onsoundscape : Saturday 2, 9 and 16 April from 10am to 12pm
A discussion on soundscape with professional artists: Thursday 14 April at 6.30 pm
An acoustic walking concert in the city of Rotterdam: Saturday 23 April, at 2:30pm
The discussion on soundscape takes place on Thursday 14 April 2022. By questioning the career and work of the invited artists, the aim is to explore different visions around this approach to sound. What are the creative, social and ecological relationships that artists develop by listening to and recording the world around us? Moderated by Hugo Lioret (one-year Sonology course), this discussion will welcome the artists BJ Nilsen, Justin Bennett (Sonology teacher) and Leonie Roessler (one-year Sonology course alumna). It will take place at the Alliance Française Rotterdam and will be broadcast live online. This discussion will be held in English.
Gabriel Paiuk’s new album Adjacent Sound is released on the UK-based label Another Timbre. The album comprises works composed between 2005 and 2019, for acoustic instruments and for a combination of instruments and electronic sources. The pieces have been recorded by Ensemble Modelo62, New European Ensemble, violoncellist Francesco Dillon and pianist Teodora Stepančić.