17.00 EAM Maraton
Kafé Spegeln

17.00 ICEM 1, Space and Drama
Marc Beugnies - Revolutionibus orbium coelestium (Frankrike) 6'00
Miklós Sugár - French songs (Ungern) 12'19
Pete Ehrnrooth - Etude voilée (Schweiz) 09'05
Annette Vande Gorne - Figures d´espace (Belgien) 11'20
Ana-Maria Avram - Yidam (Rumänien) 7'08

18.00 ICEM 2, Cuts and Abstractions
Rudolf Ruzicka - Celula (Tjeckien) 14'30
Stefano Petrarca Leggero (Italien) 7'00
Felipe Otondo - Zapping Zappa (Chile) 11'20

18.30 EMS, Shots of eam
Lennart Westman - Lapides 5'10
Johan Boberg - Nattfjäril 4'59
Jonas Broberg - Eyelid Screen 7'00
Jan Liljeqvist - Spamfilter shortcomings 3'30

19.00 ICEM 3, Surroundings
Luís Antunes Pena - Sonorous landscapes I & II (Portugal) 12'40
Anders Vinjar - Osh bazaar (Norge) 12'25
Philippe Moënne-Loccoz - CristalB (Frankrike) 12'41

ICEM konserterna organiseras av IDKA i samarbete med Svenska ICEM samt i samarbete med nationella sektioner av Internationell Confederation for Elektro-akoustic Music, ICEM. De respektive medlemsländerna har själva valt ett verk av en tonsättare som de anser är representativ för deras lands konstnärliga produktion. Konserten från studion Elektro-akustisk musik i Sverige, EMS i Stockholm har valts ut av Sällskapet för elektro-akustisk musik i Sverige, SEAMS och föreningen Verksamma tonsätttarna vid EMS, VEMS och sker som ett samarbete inom Riksförbundet arrangörer av nutida musik, RANK.

Marc Beugnies
Self-taught drummer and composer, drums and computer-aided music teacher, rock musician with the group "Docteur Folamour" (eponymous CD under Musea label in 1996), Marc Beugnies had chosen to devote himself to the music for choreographic plays since 1997.
In 1998 he started to cooperate in a closed way with the contemporary dance company "Passe Velours" (and its choreographers Marie-Pierre Genard and Lydia Vinuela) with which he has never stopped working to date.
In spring 2000, he conceived the idea of a musical system based on the correlation between electromagnetic and acoustic waves and the link between celestial mechanics and length in musical discourse. One of the profitable results of this multi-disciplinary process led to an award at the famous Bourges International Competition of Electroacoustic Music and Sonic Art in 2001 with the piece "Incidences et Réflexions sur la Naissance d’une Etoile", followed by a commissioned musical work planned for 2004 which will be realized in the IMEB studios (Institut International de Musique Electroacoustique de Bourges), a new opportunity to experiment his astro-musical system.

Pete Ehrnrooth
Etude Voilee
Duration 11'20
Piece commissioned by MIA (Musique Inventive Annecy.France) and realised in their studio. The argument was a reflexion on "Feed Back". This piece is originally composed for 8 tracks. This is a stereo version.
The piece is entirely based on a flute thema, crossing the entire piece in fragments, so as a continuous flow.
The flute serves as well as sound material to create abstract acoustic environments, distorting it's monophonic origin into a polyphonic universe.The formal construction is inspired by classical contrapuntic
technics,progressing by continuous overlapings (Feed-Back) of fragments until a final
octophonic exposure of the thema.

Miklós Sugár
Miklós Sugár föddes i Budapest 1952 där han studerade dirigering och komposition på Ferenc Liszt Academy of Music. Han har fått flera utmärkelser och fina priser bl a Kodaly stipendiet och Erkel priset
French songs Dessa sånger är ett möte mellan Samuel Beckets poesi Och Milkos Sugars musikaliska värld. Bearbetade klanger från flöjt, violin, cello och sopran möter FM-syntes klanger.

Annette Vande Gorne
Classical music studies at the Royal Conservatoires of Mons and Brussels and with Jean Absil. Electroacoustical composition with G. Reibel and P. Schaeffer at the Paris Conservatory. Organises the International Acousmatic Festival of Brussels "L'Espace du Son".
Presently, her music studies various types of sound energies of nature; she uses these as they are or transforms them in the studio to create an abstract and expressive non-anecdotic musical language. The relationship between Text and Music is an other domein of research. She prepared an acousmatic Opera with Werner Lambersy.
Space Figures Study for spatialisation to Claude Lenners.
Acousmatic work, stereo, 12’40
Emptiness and Full-Texture-Ritornello1-Waves-Ritornello2-Contrast-Ritornello3
Aerial space or blocked, in movement or static, in colour contrast, materials and movements…but what does it mean « Space » ?
Here, each part ask « un complément d’âme » from the performer at the console of sound projection, a certain virtuosity.
In the study’s or prelude’s tradition of the classic repertory, the peace has been thinking as instrumental gesture, as space figures who conditionned the gestural answer of the performer.
To be listen in concert…

Ana-Maria Avram
Composer,pianist and conductor, was born in Bucharest in 1961 . After graduating from the National Conservtory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy. Since 1988, Avram has mentained a close collaboration with Iancu Dumitrescu, but she has also continued to forge her own direction in music. She is considered to be one of the most important Romanian composers of her generation.
Her music incorporates the outward semblences of sonic abstractionreaching its full development in the synthesis of electroacoustic and instrumental sources.
Her works has been commissioned by prestigious ensembles such as Kronos Quartet ( San Francisco ) ´ 20 Jahrhundert ª from Vienna, soloists from lπOrchestre National de France, orchestras as Bucharest Philharmonic Orchestra, Romanian National Orchestra, Romanian Radio Chamber Orchestra, L´Orchestre de Chambre de Roumanie, etc.

---

Rudolf Ruzicka
The composer RUDOLF RUZICKA (rouge'itch'kha) -- Master of Arts -- born on 25 April 1941 in Brno, Czech Republic, is a distinguished personality in twentieth century Czech music. Following his education at the Conservatory of Music in Brno (1958-62), Ruzicka studied composition at the Janacek Academy of Musical and Dramatic Arts.
His compositions are noted for neo-avantgarde techniques, whereby a computer is used to calculate new entities of compositional material, with innovations to compositional processes both in formal and structural terms. Ruzicka embarked here on the road of searching for modern sources of inspiration, sharing in the shaping of what turned out to be a spontaneous counterpart to the overabundant and omnipresent computer technology (CCOMP). His orchestral, chamber, vocal, electroacoustic and computer compositions are successfully performed in many countries.
Celula The electronic computer composition CELULA (Cell) was formed on the basis of an artistic musical statement of the production of cellular automata, of which the graphic form of identical triangular elements emanating from the Sierpinski continuum, is as regular, symmetrical and periodical as the cellular automata developed in natural conditions. The musical realization acoustically simulates a rise of cells in the cellular automata, to which it employs electroacoustic sounds with equable distribution of the tone frequency which do not appear in the halftone tempered system.

Stefano Petrarca
He has studied piano and composition with Biondi-Paris, trumpet with Mauro Bartoletti, and guitar as an autodidact. In 1983 he graduated in Electronic Music, under the guidance of Giorgio Nottoli at "L. Refice" Conservatory in
Frosinone. Petrarca is especially interested in researching the forms of music language innovation by means of electronic technologies. In 1980, with other musicians, he founded STREAM "Studio per la Ricerca Elettroacustica
Musicale" (Center for Electro-acoustic Research in Music), and at present he is the artistic director of STREAM. He has composed music for soloists, ensemble and orchestra, for tape and real-time synthesizer. His works have been performed in Italy and abroad and have been broadcasted as well. At the moment he is mostly interested in multimedia arts but he is also going on researching in electronic and instrumental field.
Leggero
for tape and voice
Michele Pisicchio, voice
Basic material of the piece is only made up of syllables - disassembled and processed by means of computer - of my short lyryc like a Haiku.These sound materials develop from great timbre complexity to final part
where the lyric is integrally declaimed only with the accompaniment of simple and ìpureî tones. The whole piece is a path towards purification and levanescentî meaning of words confirms this concept. (S. Petrarca)

Felipe Otondo
Biography Felipe Otondo Born in 1972 in Santiago, Chile, studied acoustics in Chile and perception of sound in Denmark, where he worked several years as a researcher in the field of musical acoustics and computer music. He studied composition with the Danish composer Anders Broedsgaard. Has done mostly electroacoustic music for tape and live-electronics as well as sound installations. His music has been played in different festivals in Europe and South America. Presently he is doing a PhD at the University of York in England with the composer Ambrose Field. For more information see: www.otondo.net
Zapping Zappa
Duration: 7'08''
This piece was conceived as humoristic tribute to the composer and musician Frank Zappa. Using different types of samples from the music of Frank Zappa I built an imaginary zapping through different musical states inspired in Zappa's electronic, instrumental, theatre and rock music. Paralell to the evolution of the zapping in the piece there is an evolution in terms of timbral rhythmic layers that evolve gradually changing in sonorities from one section to another following a characteristic percussive pattern.
Piece created at the Danish Institute of Electroacoustic Music (DIEM), Aarhus, Denmark. Premiered at the Ai-maako Fourth Electroacoustic Music Festival, Santiago, Chile.

---

Lennart Westman
Lennart Westman är född och uppvuxen i landskapet Medelpad, i en omgivning karaktäriserad av tystnad och avlägset skällande hundar i vintertid, av ljudet av tinande bäckar och häckande storspovar i vårtid, av sjungande svalor och lärkor i sommartid och av den mäktiga vinden i hösttid. Efter att ha spelat i lokala popband från 12-års ålder studerade han klassisk gitarr, harmonilära och kontrapunkt i Sverige och musicerade också några år i Frankrike och Spanien, där han bland annat har fördjupat sig i Flamenco-musiken. Ett växande intresse för ljudkonsten och elektroakustisk musik tog honom till EMS (Elektroakustisk musik i Sverige) i slutet av 80-talet. Det var dock inte förrän 1993 som han i större utsträckning började fördjupa sig i just denna musikgenre. Lennart Westman har gått kompositionslinjen vid EMS (Elektroakustisk Musik i Sverige) och studerat för bland andra Lars-Gunnar Bodin, Rolf Enström och Erik Mikael Karlsson. Hans verk har framförts i ett flertal länder i Europa, samt USA, latinamerika och Asien; bland annat under World Music Days 2002 i Hong Kong, Kina.
Lapides
Lapides ventum sonantis verbi habentes - Stenar som bär det ljudande ordets vind.
Materialet till verket består av 4 stenar från Sherrybukten söder om Visby samt sång på latin av tenoren Conny Thimander. Sångtexten kommer från Hildegard av Bingens "Boken om Guds verk", svenska översättning av Gunilla Iversen; den är aningen modifierad av tonsättaren.

Johan Boberg
Nattfjäril
En meningslös jakt efter det föreställda. Med träaktig envishet mot den urbana hägringen.

Jonas Broberg
Eyelid Screen
Duration: 5’44’’
I detta stycke har jag använt mig av ljud från min dotter Julias leksakskorg.
Jag fann att vissa leksaksljud var synnerligen lämpade att utforska i studiomiljön.
När ljuden hamnade i datorn fick de samsas med synthesizerklanger.
Jag bearbetade leksaksljuden med varsam hand. Måhända associerar man titeln till lyssnarsituationen för Elektroakustisk musik.En situation som i många fall frammanar inre bilder som projiceras på
insidan av lyssnarens ögonlock.

Anders Vinjar
Osh Bazaar
Multi-channel tape.
My history book back in school told a tale about the caravans on the Silk-Road, bringing silk and other treasures to Europe. It told about camels loaded somewhere in China, wandering for weeks through dangerous and haphazard landscapes, ending up in ancient Europe - that is if they were not demolished by robbers. With them came a new number: zero, and the art of book-printing. A recent travel in Kyrgyzstan gave me the possibility to rediscover the
Silk-Road as something different and still richer: a widespread and multifaceted structure of cultures, cities, oasis --- spread out over rich soil and dry deserts --- a gigantic and dynamic network of peoples, transports and cultural exchange in time and space. In 1995 our world celebrated the origin of the Turkish national epos "Manas" one thousand years earlier. In the year of 995 the Silk-Road had already existed as a network exchanging trades and culture for 1500 years. It continued to prove decisive for the development of our world for 500 years to come.
The title "Osh Bazaar" is lent from a gigantic bazaar in the capitol of Kyrgyzstan. In this centre the whole world meets, traders from near and far, peasants, citizens, politicians, youngsters, tourists. A chaotic mosaic of goods, smells, colours, tongues, sounds. Actual sounds, impressions from the market, and the dynamics in structures like the Silk-Road in time and space have helped form this piece.

Philippe Moënne-Loccoz
Type-setter born on March 21, 1953 in Annecy, France, 3 children. Practical the very young scene within groups of musics of rock'n'roll, jazz (guitar, double bass, writing, improvisation) and of traditional music. Musical studies with the academy of Annecy then of Geneva. Be interested in search of stamps and creation, which leads it to enter
in class of electroacoustic composition to the academy of Geneva in 1979. Work with Grooving BOESCH, Guy REIBEL, Jean-Pierre DROUET, Luc FERRARI, Christian CLOZIER, Gerald BENNETT, Pierre SCHAEFFER, Pierre HENRY, Tristan MURAIL and Alain SAVOURET. Take part in groups of instrumental improvisation such as "FREQUENCE7" (Septuor, repertory of the 20th century) in Geneva, "Trio COLLECTIVE" and "SOLSTICE" with Annecy/Genève (improvised music, works of the repertory and compositions personal). Be interested in the composition computer-assisted and develops the interactive device "IRISIS", which allows the transformation of video images into sounds into real time.
This tool is used either in concert, or in studio (search-creation), or in pedagogy (gestural commands). This work is undertaken within the studio MIA (COLLECTIVE & Co) in Annecy, in relation to the University of Savoy. Founder member and current director of the studio Inventive Musics of Annecy, With composed of works electroacoustics and mixed, for various formations and various sets of themes (sound landscapes for exposures, works for sets and orchestra of harmony, tape only, instruments with tape and video, for interactive devices, video-art, musics for the theatre...). Several works of Philippe Moënne-Loccoz are available on CD "Compilation", "White Horse", Granulation "and" Supertrio ". Monographic CD "Limit". Distribution: Métamkine.
Cristal B
Music for support in octophonie.
Part carried out starting from recordings of a Baschet Crystal. Carried out on the structure, without the resonators, the sound events resemble grelots, métallophones, flutters of the small bells... deploying particular resonances and
harmonics. The metal body of the Crystal gives a multitude of sound colors favourable with the most heteroclite transformations. I use only one "traditional" sound of the Crystal, to carry out certain behaviours. This part forms part of the series "some intrusions in the field of single": They are parts electroacoustics built around single sounds of various origins: bell, mandoline, toothing-stone, clarinet, couple of geese, viola... During the composition of this series of parts and particularly those which use sounds of instruments, I discover unsuspected universes: does the print of the violin makers who worked these strange forms, able to produce such pure sonorities, such perfect and imperfect at the same time, show through? this is my European culture (definitely anchored very well!) who allows me to underline an already known world more or less consciously - I like what I learned how to like? Browsings in discoveries, I become aware of the enormous potentiality of each entity - it was alleviating - which composes humanity in what it has of more various and of richer. These parts offer to me, in addition to a glance towards the
singularity of the other, of new prospects for my sound browsings.

///Tillbaka