01  Reverie - Audiovisual Electronic Music (2025/11'20''/World Premiere)

Composer: QIU Chenglong (China)

Visual Design: MA Shihua (China)

Live Electronic Music: MA Shihua, QIU Chenglong

Lyricist: LI Kaiwei (China)

This is an audiovisual art piece created and presented in the form of a duo. Starting from sounds that eliminate melody and fixed rhythm, using electronic music technology as the creative language, it combines with the non-directional flow of the visual realm to continuously expand the energy of sound, guiding the audience to reconstruct their sensory pathways through the convergence of multimodal perception.Beginning with atonal sound organization, the work gradually introduces tonal musical structures, poetic texts, and concrete symbols, allowing viewers to receive the gradual intervention of concrete elements in a state of haze and ambiguity. This activates deeply dormant experiences in memory and triggers imaginings that transcend the boundaries of reality: a retrospective gaze directed inward. In the process of perceiving the work, viewers are guided to touch that ? the possible self? that once emerged within themselves but never reached. It is both a sensory call to one?spotential and a re-examination and reflection on one's existence.

Composer: Panayiotis Kokoras (Greece/USA)

Sound Diffusion: WEN Bihe (China)

Violin: XIAO Hangchen (China)

A shatter cone is a conical fragment of rock formed under the high pressure of volcanism or meteorite impact, characterized by striations radiating from the apex. (The American Heritage® Dictionary of the English Language, 4th Edition, 2000)

Shatter Cone was composed in winter 2004 as a commission for the MATA Festival to be performed by Mari Kimura. The title reflects how the sound of the violin is shaped into sonic structures through the impact of the bow’s pressure, speed, and position on the strings in combination with register. The piece presents multifaceted abstract sonic structures, revealing their morphoplastic qualities by continually transforming the violin’s sound. Like a moving sculpture, Shatter Cone reveals its *facets through sonic shadows, illusions, wrappings, and refractions of itself. Each abstract sound structure holds a unique place and moment within the musical space. The pre-recorded material is derived entirely from violin sounds, meticulously transformed to retain the gestural and spectral data of the original while removing direct reference. The aim is to enhance the violin’s sound profile and give a sense of continuity. The work was realized using GNU/GPL software on a Linux-based platform, in the studios of the Department of Music Technology and Acoustics at the Technological and Educational Institute of Crete, as well as in my home studio. The piece was awarded 1st Prize - 15th International Composition Competition Franco Evangelisti (Rome, 2012); 1st Prize - Music Powered by Technology Composition Competition (Athens, 2005); Finalist - V Pierre Schaeffer International Computer Music Competition (Pescara, Italy, 2005)

03  Impression of the Pagoda - Real-time Works for Wacom Cigital Drawing Board (2023/6'30''/China Premiere)

Composer/Live Electronic Music:WANG Chi (China)

Pagoda as a piece of architecture reflects history, aesthetics, religion, philosophy among many other cultural elements. Pagoda as a concept reminds me of each unique yet contemplative journey visiting different temples. The rituals of recitation and chanting practice in the temples offer the observers interfaces connecting themselves and the surroundings in different ways. In this piece, the impressions of the three pagodas are depicted in different audiovisual approaches through the real-time interactive performance.

04  Boulez Reloaded - for Percussion, Piano and Electronic Music (2025/15'00''/World Premiere)

Composer: Pierre Boulez (France)

Live Electronics: Gérard Assayag (France)

Piano: Elaine Chew (UK)

Percussion: Thierry Miroglio (France)

Conceived in homage to Pierre Boulez on his centennial celebrated worldwide, “Boulez Reloaded” is a musical trio that brings to the live stage human-AI cocreativity, AI’s potential in precision music medicine, and skilled human improvisers. An open, semi-improvised dialog between multiple confronting music streams will draw material from the rich musical history that shaped Boulez and his music. Whilst the human protagonists grapple with the cocreative scenarios fed by the autonomous AI agents, their heartbeats, breathing, and heart rate variability—traces that form the basis of AI models for music theranostics—are captured by wearable sensors and visualised scientifically. The musical trio brings together technologies developed in ERC REACH and ERC COSMOS European project: Somax2 (human-AI improvisation) and heartfm (real-time capture and visualization of music and physiology). Elaine Chew will perform, adapt, and improvise on excerpts of pieces including Boulez’s Fragment d’une ébauche (1987), and Ravel’s Jeux d’eau (1901). Gérard Assayag will guide somax2’s improvisations towards different interaction strategies and sonic material drawn from Elaine’s live playing and recording of Boulez’s Sonata (1946), as well as corpus material from REACH musicians-in-residence including Jean-Brice Godet, Valérie Philippin, and Francesco Guerri. Thierry Miroglio will blend in with various percussions in a “tintinnabulant” (tinkling) spirit that Pierre Boulez would have much appreciated. The musician’s and the machine’s reciprocal listening and adaptation will produce rich and previously unheard combinations. The ebb and flow of the performers’ breathing, their ECG, heart rate, and heart rate variability, and the music played will be projected on a screen for real-time visualization, capturing the duo’s

stress and physiological state changes, and showing entrainment with the music and musical interactions.

05  Goodbye, Little Prince - An AI Interactive Music Performance (2025/6'00''/World Premiere)

Composer/Programming/Performer: FENG Jinshuo, SUN Hua, WU Sitong (China)

"Goodbye, Little Prince" is a digital poem dedicated to all adults who have come to understand farewell. The work begins where Antoine de Saint-Exupéry's classic story leaves off, continuing the tale with a cosmic journey of return, sacrifice, and eternity. It tells the story of the Little Prince who, to return to his one-and-only rose, resolutely embarks on a journey home across a vast galaxy, and ultimately chooses to undergo a metamorphosis on a cosmic scale, achieving a poignant and magnificent conclusion where their souls are eternally embraced. Technically, this work explores a new paradigm of human-computer co-performance. At its core is an interactive music generation system controlled by text as a medium, with the purpose of translating abstract literary emotions into a tangible audiovisual experience in real time.

During the performance, the performers write story texts and poetic verses live on stage. These texts are sent to a back-end Large Language Model (LLM). Rather than relying on keyword triggers, the model performs semantic understanding, emotional analysis, and narrative analysis on the input text. For instance, upon receiving the text "He flew past the storms of Jupiter and recalled the fury of his rose," the AI translates it into a structured command containing elements such as scene and emotion, which in turn drives the music and visual engines. The music engine adjusts timbre, rhythm, and harmonic texture in real time based on this command, while a visual module written in WebGL generates corresponding dynamic images on screen. The system is designed so that the parameters of sound and image remain highly coupled, creating a unified audiovisual presentation. This system achieves a "dynamically plastic performance structure." The relationship between the performer and the AI is not a one-way "trigger-response" but a "co-performance" model of mutual feedback. The music and visuals generated by the AI, in turn, influence the performer's subsequent writing, while the new text initiates the next round of generation, forming a continuously evolving feedback loop.

This work integrates creative writing, real-time interaction, and generative art. It aims to explore whether, when cold technology meets warm literature, we can teach a machine to understand farewell alongside humans, and together, compose a unique cosmic echo for it.

06  Neural Variations - for Harp and Electronic Music (2024/6'02'')

Composer/Sound Diffusion: Malte Giesen (Germany)

Harp：YANG Yinuo (China)

Neural Variations is a piece commissioned by historical harpist Maximilian Ehrhardt, based on Jan Pieterszoon Sweelinck’s arrangement of the famous medieval French melody Est-ce Mars. The work is also part of my artistic research into AI as a compositional tool. I trained a recurrent neural network (RNN) using a recording of the original piece performed on a chromatic harp (arpa doppia). My interest was not in achieving a perfect reproduction of the original sound or style, but in exploring the various degrees of recognizability and transformation that emerged from the model. During the training process, I extracted audio samples at different stages (after 100, 200 generations, etc.), reassembled them into a new structure, and then transcribed the result into a score for arpa doppia. Through this process, I aim to explore new compositional possibilities within the traditional framework of musical variations.

07  Wu Lang Leaves the Mountains - Musical Theater Work for Qinqiang Da Hualian, Two Mixed Percussion Ensembles, Visual Media, and Electronic Music (2025/15'00''/World Premiere)

Composer/Sound Diffusion: ZHANG Xiaofu

Dramaturgy: ZHANG Xiaofu, YANG Xiwen, GUO Benlong

Qinqiang Vocal Design: GUO Benlong

Visual Design Supervisor: ZHANG Chao

Video Production: ZHAO Junmeng, WU Haoqian,WANG Bingning, ZHANG Pengcheng

Technical Assistant: ZHANG Wei

Qinqiang Da Hualian: WANG Jianli

Percussionist: MA Li, LIU Meng

The legendary tales of the Yang Family Generals from the Song Dynasty have long been cherished in Chinese folk culture and a wide range of artistic forms. Wu Lang Leaves the Mountains is based on the traditional Qinqiang opera excerpt Meeting at Mount Wutai, and reinterprets it as a musicalized solo performance designed specifically for the "Da Hualian" (painted face) role type. Structured into five scenes—“Drunkenness,” “Monologue,” “Probing Exchange,” “Letting Go,” and “Departure the Mountain”—the work reconstructs a self-contained dramatic arc. Its core language draws from traditional Qinqiang vocal techniques, while incorporating the operatic vocabulary of stylized gestures, movements, and physical expressivity, alongside elements of singing, recitation, movement, acting, and combat. Together, these components establish a richly layered theatrical and narrative framework grounded in classical operatic form. In its stage realization, the work integrates two mixed percussion ensembles (Chinese and Western), electronic music, and visual media. These elements engage in a newly constructed audiovisual dialogue with the DaHualian performer, offering an exploration of a multimedia musical language distinctly rooted in Chinese cultural aesthetics.