CIME South Korea - KEAMS

Composer/Sound Diffusion: Juhee CHUNG (South Korea)

This work is the third piece in the Time and Space of Jeju series, set on Jeju Island, located in the southern part of Korea. Jeju Island preserves a distinctive natural environment and unique folk culture, with its regional identity shaped through the characteristic sentiments and sounds of wind, stone, and the Jeju dialect. This piece seeks to explore Jeju’s sense of time and space through the concepts of permanence and transience. The continuity of time is expressed through the Jeju folk song Cholhong-aegi, the physical sound of stone, and a personified voice, while the transience of space is embodied through the sound of wind. Cholhong-aegi is a traditional work song sung while harvesting rice, carrying the fatigue and emotions felt after arduous farm labor. In this work, actual recordings of master singer Go Sung-ok are used, with minimal acoustic modification, in order to preserve the original texture of her voice and the Jeju dialect. The emotional weight of such toil is deeply reflected in the overall atmosphere of the piece. Throughout the work, the repeated sounds of plucked or struck strings, along with long-sustained clusters of sound, form part of my distinctive musical language. These elements combine and dissolve in various ways with the sounds of Cholhong-aegi, stone, and wind, shaping the structural framework of the piece.

Composer/Sound Diffusion: Myunghoon Park (South Korea)

Flute: LIU Zongqin (China)

Re:Phrase carries a double meaning: in both music and language, it means “to say again.”

In this work, a melody that seems to move forward suddenly turns back, returning in an altered form.

These repetitions are not mere copies—they shift in inflection, change in length and direction, and sometimes wander down unexpected paths before rejoining their original course. The result is a trajectory shaped not as a straight line, but as overlapping circles and spirals, drawing the listener into a space where familiarity and novelty intertwine.

Re:Phrase explores the subtle moments in which the same story is heard anew with each telling.

Composer/Sound Diffusion: Seongah SHIN (South Korea)

Sagul(snake cave) is a cinematic and visual image that recently developed to get the connection between my strange dreams and mythology from Jeju the island I recently spend lots of time. This project connected the mythology has access with many other folktales, stories, memories, accidents, records, and other senses that is not replaceable with an archival culture that people usually use to record to memory. Images from the natural phenomenon and phenomenalized sounds are connected with folktales reproduced the another meaningful occurrence, that also reconnected with other folktales, to artistic records that differentiate existing history.

 

 

04  Enchanted Tinnitus - for Violin and Live Electronics (2023/5'30''/China Premiere)

Composer/Sound Diffusion: Yemin Oh (South Korea)

Violin: LU Yunlin (China)

“Enchanting Tinnitus” was inspired after hearing descriptions from acquaintances suffering from tinnitus. It is known that individuals with tinnitus perceive various sounds differently, such as the sound of wind, roaring noises, humming, whistling, and more. While those experiencing this symptom may express distress, for those who haven't experienced it, it stimulates various auditory imaginings. This piece was initiated from such inspiration, aiming to create an allure in the harmony between sounds akin to tinnitus and those that are not.

CIME Iran - SPECTRO

Composer: Arezou Rezaei (Iran)

Sound Diffusion: GUAN Peng (China)

In this piece, human voice is used as one of the main constituent elements in various forms. Other materials include the use of synthesized sounds and different recorded and processed sounds. The combination of these materials creates an eerie atmosphere in which the listener can clearly follow the action and reaction between the real human voice and the computer-generated sounds.

Composer: Deniz Tafaghodi (Iran)

Sound Diffusion: GUAN Peng (China)

Shin is a concrete piece, composed in (ABA), whose only material is human voice, either raw or processed. In this piece, a Persian phrase is used, which was recorded by a tenor and a soprano. The phrase goes like: KOSHTAM SHEPESHE SHEPESHKOSHE SHESH PA RA. In IPA, it can be transliterated as: /ku . tæm e. pe. e e.pe . ku. e e pæ ɑ/. It means: I killed the hexapod flea-killing flea. The phrase is a rather old and humorous tongue-twister, widely known in Iranian culture. Tongue-twisters are indeed phrases that due to their complex and special alliteration end in verbal confusion when repeated fast several times. These repetitions comprise an important part of the piece.

Composer: Farhad Shirinzadeh (Iran)

Sound Diffusion: GUAN Peng (China)

“Dakhmeh” is the name of a historical tower-like place in which the Zoroaster’s followers used to abandon their belonged corpse to feed the vultures and threw the bones away in a cavity “Stodan” at the center of the tower. “Tower of Silence” is a story from death to Dakhmeh which was told in the language of music.

Composer: Seyed Hossein Alaei Mousavi (Iran)

Sound Diffusion: GUAN Peng (China)

This work is based on the mathematical theory of Voronoi and the resulting diagram, which originated from the system of chance.

Composer: Sepideh Yaftian, Parham Izadyar (Iran)

Sound Diffusion: GUAN Peng (China)

Insects Fall in Love Too Is an electronic piece for accordion, which is made in the form of fixed media with the instrument. In the piece, Cubase is used for placing and processing the natural sounds. Insect sounds and samples. This piece plays the role of a narrator who talks about a concept that has no uniqueness in definition: LOVE. Composition of the piece is inspired by insects mating patterns, so that we can hear the part which was hidden from the eyes.

CIME Italy -Tempo Reale, Florence

Composer: Nicola Cappelletti (Italy)

Sound Diffusion: GUAN Peng (China)

Tuning Limestone (in the term's double meaning of “tune” and "harmony") is the result an exploration and mapping of the multiplicity of sound phenotypes that make up the ecosystem of the city of Prato in Tuscany, Italy, documented, processed, and reassembled in a framing process. Just as the marly limestone (dominant in the city's historic buildings and monumental architecture, and very present in the Calvana mountain range northeast of the city) is crossed by veins and points of different color and density, so Prato offers trace and living memory of multiple historical, social, urbanistic, ethnographic and morphological crossings, indelible imprints and elements of shared heritage with a strong timbral connotation. The sound investigation, carried out by documenting different contexts with special recording techniques, was conducted both in a documentary way and through the solicitation of materials, vibrating bodies, mechanical objects and surfaces to analyze their timbral potential and activate a dialogue with the context. Some of these elements were then chosen for their particular spectral and emblematic conformation to punctuate the structure of the composition, restoring a new soundscape at once identifiable and imaginative.

Composer: Raul Masu (Italy)

Sound Diffusion: GUAN Peng (China)

The Dao De Jing has always been one of the Chinese classics that fascinates me the most. In this piece, I meander through a web of voices and sounds that express my misunderstanding of what recursion and repetition really are. The first half features a Chinese voice repeating—through imperceptibly continuous variation—the opening of the Dao De Jing 道可道，非常道；名可名，非常名 . Two male voices reflect on repetition in Venetian—the language of Marco Polo and his family. Here, I imagine a time-traveling Marco Polo who shared with me a season in China. Together, we reflect first on repetition in the Dao, then on repetition in Western music. The piece closes with a sarcastic remark about the possibility of playing any “true” music that could ever evoke the opening of the Dao De Jing. The text is mine. The translation into Venetian is by Riccardo Terrin and Lorenzo Angeli. Other voices (in order of appearance): Kenny Ma, Mela Bettega, Carolina Talamo, Elena Chiaranda, Leo Izzo, Nicolò Merendino, and Pierpaolo Di Napoli. All electronic sounds are elaborations of flute recordings - flute played by Davide Baldo.

CIME Switzerland - ICST

 

Composer: Martina Buzzi (Switzerland)

Sound Diffusion: GUAN Peng (China)

Macédoine is the second in a series of three pieces in which an old brass family bell tolls its final chimes. Preserved emotions (“Affektkonserven”), in which memories remain as formal remnants. They cannot be tied back to symbolic constellations. "Bell chimes, square pieces of vegetables and the death of my grandmother have no connection, but no reference is needed for a distortion to lose its meaning.”

Composer: Christoph Brünggel (Switzerland)

Sound Diffusion: GUAN Peng (China)

The piece "Of cybernetic monoliths and flowing turbulences" explores specific phenomena of energy conversion and the logic of the organization of time and space in green energy infrastructures. It explores the sonic articulations inherent in those systems: the flowing, more-than-human forces of water, heat, wind, and steam, which are transformed into electricity and manifest themselves for instance as monolithic humming, turbulent flow, and systemic-regulatory pressure changes. At the same time, the composition also attempts to capture and express the peculiar architectural-spatial configurations of these infrastructural places. The piece is based on multisensory experiences from various electricity-generating power plants, where multiperspective field recordings were made. By generating, shaping, and structuring sounds with an analog modular synthesizer, the in-situ insights are further transformed, thus exploring possibilities for musical translation. Thus, the composition not only refers to the on-site soundscape experiences, but also attempts to make internalized experiences tangible through the direct transformation of pure electricity into a sensorially perceptible, sonic existence through a musical instrument. The piece is a first study of Christoph Brünggel's artistic research project "Turbulent Currents." The project addresses the ambivalent, sonically fascinating, yet sometimes unsettling experience of architectures and landscapes of energy production—topologies that are all non-places in the sense of uninhabitable, often isolated, and even dangerous zones. The project investigates how sensory exploration, artistic practice, and experimentation with sound can yield a broader knowledge and deeper sensitivity for infrastructural energy territories and networks, such as wind farms, run-of-river power plants, pumped-storage power plants, or thermal power plants.

CIME Portual DME

 

Composer: Jaime Reis (Portugal)

Sound Diffusion: GUAN Peng (China)

Commissioned within the frame of the project “The Soundscape we live in”, an European Project organized in collaboration with GMVL, Tempo Reale, Amici dellamusica de Cagliari, AFEA and Ionian University. The main electronic realization was made in a residency at the Studios of Musiques & Recherches (Belgium, Brussels, Ohain). Selected as finalist work for the 10th biennal acousmatic composition competition Métamorphoses (Belgium) and Prix Russolo 2018 (France/Italy). This piece belongs to the cycle Fluxus, whose pieces are inspired by elements of physics and in which musical elements related to physical phenomena on fluid mechanics are developed. This particular piece is centered in ideas related to what I have called "aerial" soundscapes. The formal development is based on 3 pillars that were inspired Bernie Krause's concepts geophony, biophony, and anthropophony (géophonie, biophonie, anthropophonie). The sections are interconnected through specific spatial movements that show our hide their own paths, recognition of sound sources and other events in order to create moments that are more or less clear in the perception of themselves.