Adèle DE BAUDOUIN (France)
Passionate about the animal world, I studied at the National Museum of Natural History of Paris and got a Biology Conservation Master’s degree in 2013. For few years I have worked in many organisations working on protection of nature. I mainly studied frogs, turtles and snakes.
During my naturalistic observations I discovered the beauty of soundscapes. After some months of recording natural sounds with my small recorder, I followed a training with Bernard Fort, acousmatic French composer, to learn how to record soundscape. After this experience I decided to do my best to pass on my passion for the beauty of natural sounds.
I have been studying in the electroacoustic class of Laurence Bouckaert in the Villeurbanne’s National School of Music (ENM) for two years.
Currently, I am working on different projects focused on wild music : electroacoustic creations, book to listen, shadow theatre…
Rana temporaria is also known as European common frog. This little amphibian breeds in shallow fresh water. In early spring they congregate in ponds and this start of delicate and loud calls, emitted by hundreds of males. A drone seems to arise from the surface of the water.
The electronic drones invite us to listen the beauty of these wild songs. They guide us through different point of views : distant, close, under water… To finally immerse ourselves in the natural frog drone.
Audrey HOUDART (France)
Coming from a literary background, Audrey Houdart first worked in theatre production, before resuming her studies in writing and documentary making. Her passion for the possible relationships between sound writing and text eventually led her to study electroacoustic composition in the Conservatoire of Toulouse. Since 2015, her productions have taken various forms: interpretation of her works on acousmonium — speakers orchestra, live performances, sound design for radios, or soundtracks for animated films and circus.
La Naissance des ombres (The birth of shadows) reflects my continuing love of theatre and radio art since my younger years, and the infinite possibilities it provides for our imagination. Dramaturgy has had an influence on several of my works, but none more so than this one.
The musical material is mostly derived from toy instruments, field recordings and voice. As the music progresses, this material undergoes a variety of metamorphoses, being used to generate both melodic and further harmonic content.
It is cast in the more-or-less traditional three movement mold, with rather static slow sections at the beginning and end providing a frame for the piece.
I have, in my imagination, divided the journey into three acts :
Act 1 – opening the curtain
Act 2 – watching a mobile above my head
Act 3 – meeting Antonin Artaud from the other side
This is a work meant to be striking, but also engaging and fun — sometimes I feel that a little more “fun” at contemporary music concerts would be all to the good.
HSIEH Hsien-Te (Taiwan)
Hsien-Te Hsieh got the Master of Music from the University of Taipei National University of the Arts, now studying electronic music at the Institute of Music, National Chiao Tung University, and faculty advisor is the Professor Yu-Chung Tseng. Hsien-Te Hsieh shows many talents in Music. He once served as a member of the Ju Percussion 2 and toured more than 50 performances.
2019 — The fix media piece “Insight” won the third prize of WOCMAT2019 International Electroacoustic Music Young Composer Award.
The fix media piece Impression of Chinese Opera won the second prize of Group A in the 16 th Composition Competition MUSICACOUSTICA-BEIJING 2019 and was also selected as the Seoul International Electronic Music Festival Concert Performance (SICMF 2019).
“TSANG．KUANG” for Multiple Percussions, Pre-recorded, and Live Electronics piece won the second prize of Group B in the 16th Composition Competition MUSICACOUSTICA-BEIJING 2019.
2017 — Won the first prize in the Quartet of 1 st TIPC Competition.
Split is inspired by the 2019 Taiwanese television series “The World Between Us” that told about schizophrenia.
Schizophrenia is a psychiatric disease that that primarily affects the patient’s “thinking” and “perception” The composer wants to through this piece to express the various symptoms of patients at the time of onset, such as delusions, hallucinations, hallucinations, mental disorders, etc. What composers hope most is that all people in society can have a better understanding of schizophrenia. What we need is more empathy and support, not more misunderstandings, stigma and labels.
Split used the sound of matches and glass as the material. The burning and ignition of matches material represents the desire for survival and survival. The glass represents another sound that confronts the heart. The composer expects to use both sounds to portray the inner struggles and fantasies of schizophrenic patients.
In terms of sound technology, the composer used the sound of the matches for various modulations. The sound used medium and high frequency pad to show illusions of the patient, and the granular synthesis was used to figure out the symptoms of the schizophrenia.
YAMAGUCHI Shoto (Japan)
Born on July 21, 1996 in Nagoya, Aichi Prefecture. Entered Nagoya Gakugei University in 2015.
After that, he will develop his knowledge and curiosity about creations by touching on video and audio works. At this time, he began to experience the sound and lighting of the theater and gained experience behind the scenes. When he was in his third year at university, he announced “The Forgotten City”, which expresses scenes described in novels with sound.
This work is an acoustic performance work that aims to make a scene imagine by sound, just as a novel imagines a scene by text. The novel is a work in which Yamaguchi draws inspiration from his dreams and uses everyday kitchen utensils, furniture, musical instruments, etc., and processes and processes the sound using acoustic programming software MAX.
At the age of four, he made use of the composition he had begun studying at university and participated in ‘Theatrical Company fooork’ and ‘Theatrical Company Gochanpon’ as sound. The troupe fooork “Uniades” won the 7th Nagoya Student Theater Festival Participating Group, Audience Award, Judge Award and Grand Prize, and entered the National Student Theater Festival. As an individual, he received the Encouragement Award in the staff section.
At the same time, in his graduation production, he released a sound processing work based on a recital drama “Beyond the Spiral Rule Gate”. This work recites a story written inspired by the dream that Yamaguchi himself saw and wrote the sound emitted from the original musical instrument “Cymbalapos Cymbalnia” based on the original musical instrument “Analapos” devised by Akio Suzuki. This is a work that picks up with a microphone and processes and processes the sound with Pure Data, an acoustic programming software.
2018 Nagoya Student Theater Festival Staff Division Encouragement Award
21st Century Outsider
Everyday is the same, with a slight change. In other words, chance is always happening. It’s not just photos and videos that contain this coincidence. If it is a recorder, it can be recorded as sound. It is field recording and music concrete that sublimate into an acoustic work that captures the continual coincidence.
We listen to the sounds of everyday life that we don’t care about.Music using noise etc. has been made even in commercial music, and it is not the case that such a tendency is strengthening. The Internet is selling processed noise sources. This means that you can make special sounds without listening to everyday sounds. As a result, the noises have become more of an out-of-office person.
In modern times, it can be said that in composition, chance is completely eliminated. What comes to mind by chance is an abrupt flash.
When composing, I often capture accidental inspiration. However, they are intuition, inspiration, and a kind of technology born from experience. Unintentional sounds picked up by chance are, as the word implies, sounds picked up by pure accidental, unrelated to technology. For example, noise that touches a microphone during recording. These are originally excluded as unnecessary, but if they are included in the work without being excluded, improvisation can be found in the creation.
Therefore, when recording, simply determine the sound that you want to record and record that sound. Even if you touch the recorder, or if you record a sound you don’t want to record, you won’t stop riding. I also took in sounds that were accidentally recorded into my work. It is impossible to capture the sound and reproduce it in the same way by incorporating the elements of performance by creating it together with evenness. This is the attraction of field recording and the appeal of concrete music, and this coincidence does not exist in recorded commercial music. Some of the music created by chance is close to the appeal of performances, and I incorporated them into my work.
Coincidental and everyday sounds, which can be called outsiders in commercial music, were created based on the idea that this work should be accepted.
WANG Hsiao-Ti (Taiwan)
Hsiao Ti Wang is a graduate student in the Department of music, major in electronic music at the National Chiao Tung University, study with professor Yu- Chung Tseng.
This piece presents sound itself in its many forms of natural occurrences and appearances, incorporating the many voices and assorted sounds created by birds and people to create a gesture of beauty. Therefore, I hope that people in this world can explore the natural ecology, so that the natural ecology can be sustainable.
CHEN Yi-No (Taiwan)
Yi-No Chen is studying electronic music at the Institute of Music, National Chiao Tung University (NCTU), and faculty advisor is the Professor Yu-Chung Tseng.
Yi-No Chen is a composer in electro-acoustic, as well as a sound designer and recording engineer. He won the 3 rd prize in composition of the International Workshop on Computer Music and Audio Technology Conference 2019 (WOCMAT).
’Rice’ In Sound comes from the sound material of rice, pots and steam cooker. It based on limited sound source and tries to shape a new sound gesture by any means possible. Let everyone hear in my own way.
Pierre AUDOYNAUD (France)
Born in 1988, Pierre works, and lives in Montreuil. He creates sound works, from concrete, ambient and drone music. With his play Molly, he is laureate of the INA GRM 2018 test bench, and performs in concert at the MPAA Saint Germain in Paris.
Since 2015, Pierre collaborates with several artists in visual and performing arts, as Stéphane Ricordel, Maroussia Pourpoint, Teo Sizun, Hugo Duina. He works regularly, with two visual artists: Charlotte Audoynaud and Ludivine Zambon.
Together, they present their work in several exhibitions, such as “Nouvelle vague, dernière vague”, with imagespassages. And “Le jardin des Argonautes”, in resonance at the Biennale d’art contemporain de Lyon, but also with « Première étoile, dernier flocon » at the Villa du Parc d’Annemasse. In the summer of 2019, he is in residence, at the International Centre for Art & Landscape on Vassivière Island, during which, he will produce a piece based on sound archives, from the Research Centre for Traditional Music in Limousin. He forms the urban pop group Gelatine
Turner with his brother Romain Audoynaud.
“yes he said I was a flower of the mountain yes so we are flowers all a womans body yes that was one true thing he said in his life and the sun shines for you today yes that was why I liked him because I saw he understood or felt what a woman is and I knew I could always get round him and I gave him all the pleasure I could leading him on till he asked me to say yes and I wouldnt answer first only looked out over the sea and the sky I was thinking of so many things he didnt know” (Ulysse, James Joyce)
Molly is an audiovisual piece resulting from the collaboration between the composer and the designer.
The musical work begins with a piezo microphone applied to the throat of a woman talking. Her voice, but also all the noises generated, by the handling of the microphone, are thus recorded. Then, the sounds are reworked, by computer. The sound matter is fragmented, modified until it becomes unrecognizable. Then this one, is rearranged again, into a coherent composition.
The images in the video were captured by filming the inside of a cardboard box. Painted black, it has a few holes and contains reflectives surfaces. The light rays entering the box are reflected and fragmented, sometimes colored by red or green filters placed on the openings. Editing software then makes it possible to reverse, duplicate and distort these images, reinforcing the kaleidoscopic games sketeched during the shooting.
HAYASHI Kyohei (Japan)
Born in 1984 in Fukui, Japan.Kyohei Hayashi is sound artist, cartoonist and thinker. He studied Hiroshi Nanatuya, Kazuo Uehara, Tomonari Higaki at the University of Art in Osaka. Created a sound piece based on the literature of Japan. Work is staged in the world, it has earned a high reputation. 2014, Japan’s National Museum of Art, in Osaka, held a concert of Electroacoustic music.
Principal Award History
Prix Russolo 2015 (France) Grand Prize winner
Prix Russolo 2019 Appointed as one of the judges
Prix Presque Rien 2019(France) 3rd prize
Paris Festival for Different and Experimental Cinema. This 21st festival edition(France) Award
International Computer Music Conference 2013 (Australia) Accept
Japan Society for Electronic Music Full Member
Japanese Society for Sonic Arts Full Member
Association franco-japonaise de la Musique Contemporaine Member
Japanese garden. Zen. Electronic sound. And the movie. Yukio Mishima’s spirit revives in the 21st century. It expresses the path of enlightenment. Art is also crazy. Art is a movie that reminds us of being crazy. Freedom of spirit before modernization. Human beings are free in art. They are even erotic.