Uğurcan Öztekin (b. 1990) is a İstanbul-based composer of orchestral, chamber, and vocal music.
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 First Prize winner of the 2019 Calefax Composers Competition for his piece, "Conference of the Birds: Amsterdam", Öztekin has been selected in numerous competitions such as the Festival Mixtur 2016 Commission Prize, Donaueschinger Musiktage 2017 Next Generation Call for Scores, Atlas Ensemble Composition Competition, Computer Space International Computer Art Forum’s Electronic Music Competition, 11th Pre-Art Composition Competition, and 4th Choral Composition Competition of Turkish Ministry of Culture.
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His music has been performed in Austria, Bulgaria, Canada, France, Germany, Montenegro, Netherlands, Poland, Russia, Slovenia, Spain, Switzerland, Turkey and United Kingdom at concerts and festivals such as Donaueschinger Musiktage 2017, Festival Mixtur (Barcelona), Atlas Festival (Amsterdam), Barcelona Modern Festival, Festival Turbulences Sonores (Montpellier), Musica Electronica Nova (Wroclaw), International Composers Seminar in St. Petersburg Closing Concert (2017), ME_MMIX18 Festival Pirineus-Mediterrània Modern (Mallorca), Computer Space Computer Arts Forum (Sofia), Baroquestock Festival (London), Festival Unicum (Ljubljana) and Calgary New Music Festival.
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Öztekin’s works have been performed by leading ensembles such as Ensemble Airborne Extended, Atlas Ensemble, Barcelona Modern Ensemble, Ensemble Cairn, Calefax Reed Quintet, Ensemble Diagonal, Hezarfen Ensemble, Molot Ensemble, Pre-Art Soloists, and Semplice Quartet.​

Currently in Lausanne

Former President of Columbia New Music

All photographs taken by me

Daniel Cabanzo (Colombie, né en 1979) est un artiste pluridisciplinaire qui s’intéresse aux différentes formes d’expression d’art, il étudie la musique à l'Université du Valle à Cali - Colombie, puis la composition en France depuis 2006. Il est titulaire d’un master de Musique appliquée aux arts visuels à l'Université de Lyon 2 et d’un master d’Acousmatique et arts sonores à l'université de Marne-la-Vallé et le GRM (Groupe de recherches musicales- INA). En 2013, Il a étudie à la Haute École Musique de Genève en Suisse avec Michael Jarrell, Luis Naon et Eric Daubresse professeurs qui l’ont influencé vers les nouvelles technologies musicales. Il est lauréat du prix de composition de Cergy-Pontoise et du prix Roux et Tronchet de l’Académie des Beaux- Arts en France, aussi lauréat d’une bourse de la SACEM pour étudier dans le Cursus I à l’IRCAM en 2014. Il participe à l’académie Manifeste organisé par l’IRCAM dans le cadre de l’atelier In Vivo Electro 2015, il a collaboré avec Le Fresnoy - Studio National des arts contemporaines pour l’édition de Panorama 2016 et réalise le visuel en temps réel de l’évènement « Piano Remix » en collaboration avec le Conservatoire de région Lille et le design sonore de l'oeuvre Artefact 01 de Mathilde Lavenne. Lauréat du prix Ibermusicas 2018 avec l’institution DME à Portugal. Actuellement il réalise son PhD en musicologie à l’Université Paris-Sorbonne et l’IRCAM (directeur de recherche Mikhail Malt). Il a été joué par plusieurs ensembles comme le Court-Circuit, Ensemble du Bout du Monde, Gardiens de la paix, Awkas, Barcelona Modern Project entre autres.

My CCRMA Page:
https://soundcloud.com/moha-ccrma
My Film Scoring/Side Page:
https://soundcloud.com/mohammad-h-javaheri-2
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Composer, Performer
Member of DKV, DEFKOM, and FEM

Mohammad H. Javaheri (1989-), an Iranian composer and performer from Tehran, has gained recognition for his interest in dense, powerful masses of sound and crafting complex textures. He has been named as a promising future composer and internationally in-demand by Germany's NMZ newspaper and Thuringian state newspaper, respectively. Moreover, he received attention in various news articles, including the LA Times. His music has been characterized as 'tense’, 'sensational’, and 'detailed'; and he inherently crafts his ‘own sound’ (Toshio Hosokawa, SYNTHETIS 2019). His versatile compositions span various forms, including electronic and acoustic elements, and have received international awards. His creative focus has consistently revolved around the concepts of "Cycle, Repetition, Trans-formative Blocks," and the interplay of speed with the structure of his compositions, along with the human psyche's evolution, delving into the profound impact of incidents and traumas on human psychology. His music vividly captures the cyclical nature of these changes and their lasting effects on emotions, actions, and life decisions. His pieces have been performed by well-known artists, ensembles, and orchestras worldwide, featured on platforms like SWR2 Radio, and published by Babelscores, Score Follower, and UCLA Music Library.
In 2024, he was awarded an EDGE Fellowship by Stanford University, positioning him to become a member of the cross-disciplinary community of scholars at Stanford.

Composer, Assoc. Professor at ITU Turkish Music State Conservatory Composition Department

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou was born in Thessaloniki, Greece. He studied composition at the Aristotle University of Thessaloniki, Greece, with Dimitri Papageorgiou and in the University of York, UK (PhD) with Thomas Simaku. He also spent a year at Hannover Musikhochschule studying acoustic and electronic music with Joachim Heintz, Gordon Williamson and Ming Tsao. He is an Assistant Professor of Instrumental and Electronic/Computer music Composition at İTÜ, Center for Advanced Study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. He received the third prize in the Karol Szymanowski composition competition 2023 with the work Motion, in Two, for solo violin.

His pieces have been performed by many ensembles in several festivals in many countries such as Greece (OutHear Week, DissonArt ensemble, Off Borders Festival), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker 2018), Italy (Soundiff project), Turkey (MIAM 20 year-Gala), Iran (Reza Korourian Awards electroacoustic music festival 2017), Hong Kong (AMGA ensemble) Spain (Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival, KUG), the UK (Resonance FM 104.4, Kinetic nights festival, Manchester, Gallois trio, Diotima Quartet, Psappha ensemble, Resonance FM, RNM Call 2022), France (Viberation#2, Réseau inDREAM Network), the USA (MISE-EN festival, NYCEMF, Impulse festival 2024), Argentina (Atemporánea festival 2022), Romania (EELISA 1st conference, 2023) and Switzerland (UMS n’ JIP).

An upcoming publication by Manolis in the MIT Computer Music Journal (Volume 48, Issue 4) explores the impact of emerging AI technologies on music composition and performance. It also proposes an alternative approach to generating textural and timbral transformations in mixed-media composition through the use of a dynamically trained neuron.

Musical Practices in the Contemporary World is his first book, where he tries to sum up what has happened in New Music after the 70s, making meaningful connections with the past and providing suggestions from contemporary repertoire. 


For a detailed CV follow this link: https://www.dropbox.com/scl/fi/ph47cs1c2geuni87r4yhp/CV.pdf?rlkey=eejehdl2u0fc9kgdxcenlhsij&st=6rjxtt9z&dl=0

sonic space basel is the platform of the FHNW Academy of Music Basel for composition, improvisation, contemporary music performance, audio design and research

Team:
Uli Fussenegger
Mike Svoboda
Marcus Weiss
Sarah Maria Sun
Yaron Deutsch
Volker Böhm
Svetlana Maraš 
Johannes Kreidler
Michel Roth
Caspar Johannes Walter

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