Wave field synthesis composers workshop

Wave field synthesis composers workshop

Workshop on creating unique and interactive sonic spaces with WFS

Three-day workshop exploring technical and musical concerns when using wave field synthesis. Featuring The Game of Life’s 192-loudspeaker mobile Wave Field Synthesis system (WFS). The workshop is hosted by Wouter Snoei en Ji Youn Kang.


Wave Field Synthesis is a technique for distributing sound through space based on physical law, the Huygens principle, applied to sound. The WFS system from the Game of Life foundation is the only portable system in the world, consisting of 192 speakers set up in a square of say 10 by 10 meters. Amazingly, it is possible to move sounds outside the square of speakers, up until 200 meters away. The interface for the system is very capable of working with sounds algorithmically or draw movements with a mouse or pen, registering the speed of movement, thus enabling a very precise and organic way of composing. The worksop will introduce the principle of WFS, working with the system,  including the possibility for real-time design of sounds. Although the system’s software is based on SuperCollider, it is not necessary to know about SuperCollider to work with the system’s software.

Nov 30. Introduction to technology and software for real-time control and composition 19.00 – 22.00 hrs.

Dec 1. Composition masterclass 11.00 – 14.00 hrs and 15.00 – 18.00 hrs.

Dec 2. Hands-on practice and presentation of the workshop ideas 12.30 – 16.00 hrs and 17.00 – 19.00 hrs.

€ 40 introduction (Nov 30th), € 120 for 3 days.

Discount price € 80 for 3 days, available for students and members of Geneco and C96 (to be mentioned in the registration form at “Affiliation of School or Institute”).

You can register through this registration form: http://www.steim.org/steim/event_registration.php?event=473


Some low-cost lodging may be available for those coming from outside of Amsterdam.
More info about WFS and The Game of Life: http://gameoflife.nl/
The workshop is part of the Wavefields festival, more info: http://www.100jaargeneco.nl/wavefields/

Address: OT 301, Overtoom 301, Amsterdam



Wave Field Synthesis (WFS) is a sound production technology designed specifically for spatial audio rendering. Virtual acoustic environments are simulated and synthesised using large numbers of loudspeakers. The innovation of this technology is that sound can appear to emanate from desired virtual starting points, and then move through space in many possible defined spatial pathways. The WFS system from The Game of Life consists of 192 speakers, which are arranged in a square formation of 10 by 10 meters. Within this formation sounds can be composed to move within this square space, however the interesting point is that it is also possible to move sounds outside of this loudspeaker square. So the question is what makes this phenomenon possible considering the loudspeakers are all physically directed inwards.

Sound waves can be compared by analogy to concentric water waves. Suppose one throws a stone into the water. At the point where the stone makes contact with the water surface, spherical waves are created. Imagine that these waves were to encounter a series of boundary points, which consisted of a series of poles, then behind these poles new small waves would emerge. If these poles were placed equidistant from each other, then these small waves would eventually reform into the original wave again. The WFS system works in a similar fashion. Instead of poles in water, our sound waves encounter boundary points of individual loudspeakers placed equidistant from each other. The composer can ‘throw’ their sounds into the space like stones into the water. Using specially designed software, the composer can programme sounds to move in space and to follow many possible trajectory’s. A sound could appear to originate from a fixed point and remain there or it could be programmed to move in patterns within and outside the square formation of the loudspeaker arrays. This possibility of being able to move sounds ‘inside’ and ‘outside’ the direct listening environment offers endless creative opportunities for the artist. The composer can also choose to have sound events manifest physically both inside and outside the speaker array formation. For example, it would be possible to render the sound of thunder rumbling in the far off distance just as one would experience it in nature! This can be accomplished by simply reproducing the appropriate sound pressure level to evoke such a sonic environment in the loudspeaker square. The ‘outer’ sound waves then are reconstructed by multiple loudspeakers. Conventional sound reproduction techniques like stereo and surround suggest spatial movements, by perceptually tricking one’s brain using knowledge informed by principles of psychoacoustics.

Wouter Snoei (1977) studied at the Institute of Sonology (Royal Conservatoire of The Hague). He worked in various fields of music practice, all involving electronic music. Wouter was sound director in several performances of electro-acoustic pieces by Luigi Nono, John Cage and Gérard Grisey. He works regularly with Slagwerkgroep Den Haag, ASKO Kamerkoor and VocalLab. Wouter also performed with Jasper Blom and other jazz artists at the North Sea Jazz festival, and as a dance producer in many Dutch club venues.
In the past few years Wouters focus has shifted more and more towards composition and performance of solo live electronics and electro-acoustic music, adding live control as part of electronic composition. His recent piece Particles for reed instruments and live electronics was performed by Calefax Reedquintet in 2007. Furthermore Wouter is involved as composer and developer of Wave Field Synthesis, a spatial sound system involving 192 loudspeakers placed around an audience, and as a teacher at the Utrecht School of Arts and the Royal Conservatoire of The Hague. BVHaast released a CD entitled Tactile with a cross-section of his work in april 2009.

She was born in Seoul, South Korea in 1977. She studied Music Composition at the Chu-Gye University of the Arts from 1998 to 2002 and was taught by Yong Shil Park. In 2003 she also continued studying as a research student in the Computer Music Department at Han-Yang University. At that time, she joined the ‘Super Jang-Go’ project, rebuilding an instrument to an electronic one using sensors and MSP.

She moved to the Netherlands in 2006, and in 2008 she acheived her master’s degree in Sonology 2nd phase in the Royal Conservatoire in Hollands under Paul Berg, and  expanded her knowledge in Electro-Acoustic music and Music composition. From 2009 to 2011, she continued studying Composition at Conservatorium van Amsterdam under Wim Henderickx and Jorrit Tamminga, where she achieved her Master’s degree and explored more for composing instruments and electronics. She as well composes for purely instrumental music; her piece for the project with the Nieuw Ensemble, ‘Enfolding Plane’ shows her reinterpretation of her own tape piece later translated into the instrumental music.

Most of her pieces have been written based on the Korean traditional music, especially ritual and folk music, trying to acheive her own musical colors and language that are expressed by computer generated sounds and multichannel system. Upon the aims, she composed a series of Electronic music pieces ‘Nea-Rim Gut,’ a representitive Korean shamanic ritual, and 9 pieces for the Wave Field Synthesis System (192 loudspeakers). Her pieces have been played in many different places and festivals including the Gaudeamus music week, Sonic Acts in the Netherlands, and Synthesis in France.

She is also working with different composers as a sound designer and a music technician, creating electronic patches and sounds for their compositions. Currently she is working as a freelancer and as a research associated in Sonology.

The San Francisco Tape Music Festival! Jan 7-9, 2011

sfSound and the San Francisco Tape Music Collective present
The San Francisco Tape Music Festival
January 7, 8, and 9, 2011
Southside Theater, Fort Mason Center

America’s only festival devoted to the performance of audio works projected in three-dimensional space, The San Francisco Tape Music Festival returns this January 7th, 8th, and 9th, 2011 at Southside Theater in Fort Mason Center.  Curated by sfSound’s SF Tape Music Collective, the festival features three distinct evenings of classic audio art and new fixed media compositions by 20 local and international composers.  The collective is one of the major proponents of live sound projection, and the members, along with guest composers, shape the sound live over a pristine surround system consisting of 16+ high-end loudspeakers while the audience is seated in complete darkness.  It’s a unique opportunity to experience music forming – literally – around you. 

This year features a special appearance by sound diffusion guru, Jonty Harrison, visiting from Birmingham, England.  Harrison is the director of BEAST (Birmingham ElectroAcoustic Sound Theater), which for the past three decades has perfected the art of live surround-sound diffusion.  For the festival’s Sunday concert, Harrison will present a retrospective of his works spanning from 1982 to 2004.  This is a rare opportunity to experience a master at work, and should not be missed!

The two other concerts on the festival feature a diverse range of music the festival is known for: a rarely heard early work by Pierre Boulez;  well-known masterpieces by Jean-Claude Risset, and Francis Dhomont; a turntable-based piece by sound artist Christian Marclay; modern acousmatic works by international composers Adrian Moore, Dixie Treichel, Donal Sarsfield, and Ilya Y. Rostovstev; and a few experimental cuts from the 80’s electro-pop group, The Art of Noise.

The festival is also remembering the work of German avant garde composer Mauricio Kagel and American sound-structalist Maryanne Amacher, both extremely talented and important composers that the tape music community recently lost. 

As in past annual SF Tape Music Festivals, this year’s festival features new works by a diverse selection of local music, including field-recording based pieces by Paul Dresher, Thom Blum, Cliff Caruthers, and Heather Frasch; noise-works by bran(…)pos and Kyle Bruckmann; and acousmatic pieces by Matt Ingalls, and Silvia Matheus.

The annual San Francisco Tape Music Festival — It’s cinema for your ears!

Southside Theater
Fort Mason Center
Building D
Marina Blvd. and Buchanan St., San Francisco
8pm, $15 [$8 underemployed] each night
$30 3-day festival pass


Mauricio Kagel – Antithèse (1962)
Jean-Claude Risset – Sud (1985)
Christian Marclay – Jukebox Capriccio (1985)
Paul Dresher – Other Fire (1984)
bran(…)pos – Pinball Paneer 2 (2010)
Silvia Matheus – Crossings (2006)
Adrian Moore – Superstrings (1999)

Pierre Boulez – Étude (1951)
The Art of Noise – Flesh in Armour (1983)
Maryanne Amacher – Synaptic Island (excerpt) (1998)
Francis Dhomont – Vol d’arondes (2001)
Thom Blum – Post from Rajasthan (2007)
Kyle Bruckmann – Orgone Accelerator (2010)
Cliff Caruthers – Open Door (2011)
Matt Ingalls – poem (2011)
Heather Frasch – Sonic Postcard: Philly (2010)
Ilya Y. Rostovtsev – Understatements.[i] (2010)
Donal Sarsfield – Of Noise Alone (2010)
Dixie Treichel – Interstellar Espionage (2007)

Jonty Harrison IN PERSON!!!
       diffusing a concert of his own works:
Klang (1982)
…et ainsi de suite… (1992)
Rock’n’Roll (2004)
Streams (1999)
Hot Air (1995)

funded in part by:
The San Francisco Grants for the Arts and The Aaron Copland Fund for Music
equipment provided by:
The Paul Dresher Ensemble and Meyer Sound
“co-presented” sponsorship by KFJC 89.7 FM


서울국제컴퓨터음악제 2010

2010년 9월 2일(목)부터 9월 5일(일)까지 예술의전당 자유소극장에서 한국전자음악협회(KEAMS)가 주최하는
서울국제컴퓨터음악제(SICMF) 2010이 개최됩니다. 서울국제컴퓨터음악제는 악기, 컴퓨터음향, 영상, 무용 등의 매체가
어우러지는 전위적인 공연으로 음악과 테크놀러지가 어떻게 조우하고 결합되는지를 보여준다는 점에서 해마다 차별화된 공연을 선사하고
있습니다. 아시아에서 최초로 기획된 컴퓨터음악제인 서울국제컴퓨터음악제는 94년에 시작되어 올해로 17회를 맞이합니다. 그 동안
국내외에서 활발하게 활동하고 있는 작곡가들의 뛰어난 작품들에 의해 국내는 물론 전세계 컴퓨터음악의 주요한 흐름을 파악하고 주도하는
음악제로 성장했으며, 많은 해외의 작곡가들이 연주하고 싶어하는 무대가 되었습니다. 해마다 세계 각국의 작곡가들이 작품을 응모하고
이 중 엄선된 작품들이 연주되는데 올해에도 200여편에 달하는 작품들이 응모되었고 이 중 22 작품이 선정되어 연주됩니다.

또한 올해에는 독일의 대표적인 현대음악 연주단체인 앙상블 아방튀르(Aventure)가 초청됩니다. 앙상블 아방튀르는
1986년 독일의 프라이부르크에서 창단된 15인조 현대음악 전문 연주단체로서 유럽에서 가장 오래되고, 의미있는 연주단체입니다.
프라이부르크의 음악회 시리즈를 비롯하여, 전세계의 많은 작곡가들과의 활발한 교류를 통한 위촉 및 초연을 주도하면서, 전통과
아방가르드의 연결, 철저히 새로운 것들의 지원, 잊혀진 것들의 재발견, 시대와 문화를 통합하는 프로그램 등을 수행해 나가고

이번 공연에는 플루트의 Martina Roth, 클라리넷의 Walter Ifrim, 베이스트롬본/튜바의 Thomas Wagner가
초청되어 Luigi Nono, Richard Dudas, 임영미, Roland Breitenfeld, 이돈응의 작품이

SICMF 2010 :: 프로그램

9월 2일 (목)
Concert 1

pm 7:30

David Berezan : Nijo

윤제호 : “Memory” for Violin, Violoncello and live electronics

이병무 : “Elastomer ver.3” for Tape

김은진 : “그리움의 침묵” for Daegeum, Gayageum, Ajaeng and Tape

Manuella Blackburn : Karita oto (Borrowed Sound) Part 1

Chikashi Miyama : Piano Chimera

김미정 : “Spirit’s Sound” for Haegeum and live-electronics

9월 3일 (금)
Seminar 1

pm 3:00

한국예술종합학교 음악원 (서초동) 402호 전자음악실
Cort Lippe

실시간 상호작용 : 연주자와 기계간의 음악적 표현성

Concert 2

pm 7:30

Clemens von Reusner : BRNK

John Croft : “…ne l’aura che trema”

강중훈 : Chime II

Jason Bolte : Noises Everywhere

Francis Dhomont : Sisyphe

이은화 : “Rattling sound” for computer generated music

Juan José Eslava : “Under Construction” for classic guitar and electronics

9월 4일 (토)
Seminar 2

pm 3:00

한국예술종합학교 음악원 (서초동) 402호 전자음악실
Juan José Eslava

“Under Construction”과 “Senderos de la risa”의 작곡과정에서 나타나는 제스쳐의 연루성

Concert 3

pm 7:30

Jonas Foerster : Echoes of Urban Life

Konstantinos Karanthanasis : Dionysus

조진옥 : CoCo-III

Marie-Hélène Bernard : Les ailes du phénix

여계숙 : Time Sculptures III

Adam Basanta : a glass is not a glass(mov I to VI)

Cort Lippe : Music for Snare Drum and Computer

9월 5일 (일)
Concert 4

pm 7:30


앙상블 아방튀르(Aventure) 초청 특별 연주회

Luigi Nono : “Post-Prae-Ludium >Donau<” for tuba & live-electronics

Richard Dudas : “Prelude and Fantasy” for alto flute & computer

임영미 : “Whisper” for clarinet / bass-clarinet & electronics

Roland Breitenfeld : “Moments of Darkness” for bass-trombone & electronics

이돈응 : “Amusement” for flute, clarinet & live-electronics

Luigi Nono : “Ommagio a Kurtag” for alto, flute, clarinet, tuba & live-electronics

* 이 프로그램은 순서나 일정이 바뀔 수 있습니다.

original post/information :http://www.computermusic.or.kr/main_kr/