Concert with Electroacoustic Music from Ukraine

1. Andrii Sichkovskyi & Dmytro Kurovskyi: There will be no capitulation (2022) 2:02  

Voices/choir recorded by Dmytro Kurovskyi in the shelter of Chernihiv, which has been under shelling and missile strikes for 7 days now.
Additional noises were recorded in the shelter of Kharkiv, which has been under shelling and missile strikes for 7 days now.
Mastering by Alexiy Mikryukov in Kyiv, which has been under shelling and missile strikes for 7 days now.
Слава Україні!

Andrii Sichkovskyi is a sound artist, a journalist and a cultural manager. He graduated from Odessa National University (Ukraine) as a journalist. He has created the music and sound design for films, theatre plays, radio performances, exhibitions and multi-genre art projects, as well as interactive multi-channel sound installations. Using fragments of interviews, found sounds, field recordings as well as cut-up and sampling techniques, he creates multilayered unpredictable dramaturgy with non-linear structure in a constant change between foreground and background, fragment and unity, precision and causal. His works were presented in Ukraine, Germany, Georgia. France, Norway, Denmark, Sweden and Poland. He participated in the creation of radio performances, experimental journalistic works intersecting reportage radio journalism and audio collage, and worked as a radio show host. He conducted lectures courses on the history of music of the XX-XXI century, sound art and sampling in Ukraine, Denmark and Georgia.
As a cultural manager, he takes part in organizing remarkable Ukrainian  festivals and underground art events (Odessa JazzFest, Mute Nights Festival, Odesa International Film Festival, 2 days & 2 nights of new music and others).

2. Katia Olenych: Kolomyiky (2005) 4:46.

Kolomyiky is a folk genre that involves ambiguity and complexity of the subjects through a “string” of different content couplets. The author tried to move these features into the sphere of electronic music. This work was created with the technique of musique concrète while using the recordings of the sounds of the Orange Maidan 2003 in Kyiv.

Katia Olenych (1982–2014) was born in the city of Uzhgorod. She graduated from Uzhgorod College of Music and the Kiev Music Academy (composition class of prof. L. Kolodub). During her studies, she actively engaged in electroacoustic composition in the class of A. Zagaykevych. Katia participated in the International Electroacoustic Music Projects EM -VISIA and Electroacoustics. She taught contemporary composition and improvisation in the Uzhgorod music school and music college. Katia Olenych was also a writer and poet.

3. Anton Stuk: The Last and the Greatest Day Of Oboe (2020) 6:48

This composition was created from samples, which I have recorded many years ago. There are only oboe samples that were transformed in different ways. The name of the composition was inspired by the famous „Day of bicycle” and the idea of the Last days of the world. 

Anton Stuk studied musical composition in the Ukraine National Academy of Music from 2011 till 2016. He also took an internship at the Ukraine National Academy of Music (Kyiv) and at the Krakow Academy of Music. His most significant works are The subway of Kyiv (for orchestra and fixed media, 2011–2016, graduation work), Two portraits by Jan Mateiko: Kopernik, Stanchyk (for strings, electronics, video and actor, 2017, project for Gaude Polonia) and Nuclear Igo (for video and electronics, 2017). 

4. Oleksiia Suk: UrbanFolk  (2021) 3.35

Studying at the higher education establishment, I started to learn long forms and experiment with them, using contemporary composers’ techniques and to work with the interesting timbre acoustic reproduction. Human timbre voice individuality and orchestra sound attract me mostly, so I try to look for ways of imitation and the connection between different timbre characteristics both in acoustic works and in electronic ones. So I am interested in the possibilities of embodiment in the electronic sound of vocal parties, and vice versa – the transfer of voice capabilities of unusual timbre and sound features.

Oleksiia Suk (9 October 1997, Kyiv) became a pupil of the High Art College Kyiv’s Academy of Arts at the age of seven. While getting academic education, she had piano, guitar, choral conducting, vocal and composition lessons (in Olena Ilnitska’s class). She begun her creative searches in the context of music compositions since she was a student of the fourth form. There were piano miniatures and musical adaptions of Ukrainian folk songs. Later she began to extant participants staff and write for ensembles. She also started to take part in all-Ukrainian composers contests.
After school she decided to continue musical education, so she entered the Tchaikovsky National Musical Academy of Ukraine (2015 ) in the Composition Department in Dmytro Shchyrytsia’s class.
She is now a master’s graduate. She tries to take an active cultural-art position. She unites both composer’s and vocal activities.

5. Danylo Pertsov: 04.04.2020 (2020) 9:34

04.04.2020 is one of the last tracks of Danylo Pertsov generated from a patch on the Max/MSP/Jitter platform. He said something like this about his work at one of the conferences: Lambda of Orion as a source of sound. Phase-vocoder analysis/synthesis, one of the most promising techniques in modern electronic music, is also one of the biggest breakthroughs in philosophy of sound. The thing is not even in the magical possibility of synthetic cloning of natural sound objects – thanks to mathematical Fourier transform procedure, the musician’s consciousness is thrown to three-dimensional, spatial thinking of sound. However, it hinders creativity becomes not so much fleeing from the understanding of the motherland, as in the first place problem of the interface, problem of control of innumerable arrays of parameters in this new coordinate system. Because this phase-vocoder technique is used primarily for sound processing, not for it modelling, i.e. in situations where processes are occurring inside the Fourier algorithm, determined by the fictional original. But in recent years, new methods of working with sound will appear in the world spectra based on visual, matrix transformations, and that opens up endless possibilities for future media art and for scientific presentations. The report considers the possibility of using non-audio data sets for modeling realistic soundscapes, in particular stellar spectra, for example of an interactive composition Meissa on the Max/MSP/Jitter platform.

Danylo Pertsov (1973–2021) was born into a family of children’s book artists. Contrary to dynastic traditions in 1988 was on the musical-theoretical branch in KSSMSh them. Lysenko, then in 1992 entered the NMAU. Tchaikovsky on composition, graduated in 1998, at the same time was accepted in union of composers. He did mostly at the table, then stopped at the table, instead he got a job as a multi-instrumentalist in a patriotic ensemble songs “Horeya Kozatska”, where he still earns a penny from time to time. There is little experience of theatrical work, there are unsuccessful attempts to write music to the movies, there is also an oratorio on the anniversary of Chernobyl, which in the past year listened to the President himself. He took up electronic music unsystematically, first under the influence of A. Zagaykevych, then interned in Krakow in Mark Kholonevsky, but performed little because of the complex relationship with objective reality.

6. Yevhenii Dubovyk: Voices Around Us (2021) 5:19

This composition is my reflection on the wars and disasters all over the world. But the «fun fact» – it was composed three months before the Russians started a full-scale war against Ukraine. So, now I imagine this piece in another way.

Yevhenii Dubovyk (1996) was born in Ukraine, Pryluky, Chernihiv region. He now lives in Kyiv. He graduated from Chernihiv Levko Revutsky Music College in 2015 (Variety of Stage department – jazz piano). He studies music composition at the Tchaikovsky National Music Academy of Ukraine from 2015 to present in the class of Ivan Taranenko. He also takes lessons from Alla Zagaykevych (electroacoustic music). He composes chamber music, electroacoustic music, jazz music and pieces for piano. He was a participant in the masterclasses during the Sounds Around Me Festival (Vienna).

7. Olexander Nesterov: Coloured Fluography (1991) 9:23

Oleksandr Nesterov (1954–2005) was the undisputed leader of the Ukrainian avant-garde music of the eighties and nineties, the organizers of the international avant-garde music “fetyvalyu” (new territory, Kyiv, Ukrainian House, 1993). His career has covered a wide spectrum of contemporary music, including jazz-rock, free jazz, new improvisational music and improvised electronic music. He studied electronic means of producing music with signal processing techniques applied solely to a bass guitar and created an album entitled Mirror  in 1989. The principal aim of this exploration was to utilize electronic signal processing to optimally modify the sound of the bass guitar, in its extreme dynamic range and timbral possibilities. He used a flexible technique to affect all stages of the dynamic envelope (attack, decay, sustain, release). Often the resulting sounds were reminiscent of vocal qualities, this allowed him to seamlessly integrate his electronic processes with wind instrument ensembles. The album Claustrophobia (1991) exposed the achievability of applying MIDI control to sound synthesis, thus adding a dynamic aspect to music created by non-acoustic instruments. For example, Nesterov used the multi-channel capabilities to produce poly-timbral textures with various techniques of sound generation, such as the midi guitar solo of Coloured Fluography.

8. Alla Zagaykevych: Voice/Way (2013) 10:39

This electroacoustic work focuses on the transformation process of voice during the cross synthesis with various nature sounds. The material for the piece began from sketches for the music for the film Guide (dir. Oles Sanin, 2013), where the main character of the film – a blind musician “kobzar” – created a special sense of heightened hearing. This hearing-guide was the main line of work in the film, and in this composition.

Alla Zagaykevych is a composer, musicologist and sound-artist who works in academic concert genres (symphonic, chamber, electroacoustic music, opera) and contemporary multidisciplinary projects (audiovisual installations, sound-performances, music for films). She participates in electroacoustic performances with musicians of new improvised music.
She graduated from Kyiv State P. Thaikovsky Conservatoire. In 1995-1996 she attended the annual course for composition and musical informatics at IRCAM in Paris. 
Alla Zagaykevych participated in many international projects and festivals of contemporary music in Ukraine, France, Sweden, Japan, China, Czech Republic, Lithuania, Canada, Poland, Latvia, USA  and Germany. She is the curator of numerous electronic music projects in Ukraine, including «Elektroacoustics» (from 2003) and «EM-visia» (from 2005). She is the Assistant Professor of the Departement of Music Сomposition and Musical Information Technology at the National Music Academy of Ukraine, where in 1997 she founded the electroacoustic music studio.
She is the president of the Electroacoustic Music Association of Ukraine since 2010. She has been awarded the Golden Dzyga  Ukrainian Film Academy nomination “Best composer of 2017” for her music for the film Living Fire (director Ostap Kostyuk). She is the winner of the national expert vote rating “Filmed in Ukraine” in the nomination “best composer 2016–2018”. She is laureate of the State Prize named after Olexandre Dovzhenko, Levko Revutsky and Mykola  Lysenka. She is the winner of the International Competition of Electroacoustic Music “Musica Nova ”(Prague) and nominee for the New York Innovative Theater AWARD for the music for the play Fare Water Night by the Yara Arts Group (2014). She is the author of music for the films Mamai (2003) and Povodir (2014), directed by O. Sanin), which were Oscar nominees from Ukraine. She is the author of articles in scientific journals such as Ukrainian Musicology, Organised Sound, MusikTexte, the Scientific Bulletin of NMAU and NMAU Magazine.

9. ujif_notfound: TER.RAIN #18 5 19 21 18 18 5 3 20 9 15 14 2022 (2022) 9:51

TER.RAIN #18 5 19 21 18 18 5 3 20 9 15 14 2022 is one of the working tracks after the project Pandemic Media Space. The work is dedicated to Danylo Pertsov.

I still can’t stop creating algorithms for generating rhythmic and tonal events, although I have already introduced cyclicity and elements of live instrument playing, but still this is the same max/msp patch game.

Ujif_notfound [UN] is a media project based in Kyiv which started in 2007. The main activity is the creation of multimedia systems based on algorithms of the kinetic relationship between man and program. “Live ” performances are based on the generation of audio and visual streams in real time. By controlling the pre-written programs (patches), Ujif_notfound, with each new startup creates a unique audiovisual space, which exists only during the performance , and exact repeats are impossible. This approach has a broad functional application for creating installations of interactive media in all spaces, both physical and virtual.