"Music" - BenHall - DMSA1

COMPOSER: İlhan USMANBAŞ
Diskant Ensemble
Ebru Sonakın (Clarinet)
İnci Yakar Birol (Piano)
Erhan Birol (Guitar)
Okan Akan (Percussion)

İlhan Usmanbaş Çizgiler - Diskant Ensemble

Composed by Hiromichi Kitazume / 北爪 裕道

Performed by
- Makoto Hondo / 本堂 誠, soprano and alto saxophone 
- Hiromichi Kitazume, acousmatique

Live recording :
13 March, 2015 (Premiere)
Espace Maurice Fleuret, CNSMDP (Paris)

Clarinet version (2021)
https://youtu.be/FpIrbyx9dl0

Danse d'atomes (2015) for saxophone and electroacoustic

Cuban Landscape with Rain is a beautiful music composed by Leo Brouwer. The piece is performed by Noortje Vredeveld, Serhat Bulut, Imge Ceren Aydeniz and Silvan de Smit at Conservatorium van Amsterdam on February 4th, 2016.

Cuban Landscape With Rain, Leo Brouwer

Eugenio Becherucci plays his "Noches" live remix version made by Cristiano Becherucci. Special guests: Cristiano Becherucci: keyboard -Nour Eddine Fatty, vocals

Eugenio Becherucci: Noches

Bu eser bilgisayar destekli muzik eseri yazımı olarak ne yapılabileceği konusunda sonu belli olmayan bir sorgulamadır.

Eser Bagatella, Barcarolle ve Rhapsody olarak 3 bölüm, 12 dakikadır.
Kompozisyon sürecinin teknik açıklamaları İngilizce olarak aşağıdadır.

This piece is an open-ended self discussion of what can be done as a computer aided music work.

The computer generated parts are sometimes mixed with manually composed sections. Sometimes this mixture is done homogenuously, sometimes heterogenuously. This is achieved by manually changing/retouching computer generated parts.

The term 'Computer generated' should not mislead you. Computer generation is based on composition algorithms which are manually programmed so that monotonous effects are avoided unless it is required to increase tension.

For example an array of 5 notes A, Gb, E, F, C# may be put into an array and a random number between 0 and 4 generated. This produces a real randomness effect. A note may be repeated 
a number of times by chance. This has to be changed, so that a pitch that has been played once may not be played for a couple of throws of the dice. This is the random repetition depth. An artificially beautiful randomness appears if repetition depth is increased. The depth decrease helps to increase tension where needed.

It is possible to imitate/approach human manual composition by deliberately changing and manipulating algorithms. For example, you can put artificial randomness in not only pitch but also rhythm values, etc.

It is also possible to imitate computer generation by hand but this effort is also limited by the sheer volume of the computer generation.

The computer generation may also be used just to produce the base line like a carpet weaver using a white layer of threads to tie the color nodes on.

Uniqueness and mutation are issues that has to be pondered upon in this approach to music composition.

The work is composed of three sections Bagatella, Barcarolle ve Rhapsody. 12 minutes long.

'At the Edge' is the sitution of human being in the world of 2017. We are at the edge of enormous progress in science and technology, progress that we cannot even imagine.

The vast majority is only being swayed by the progresses that are happening and sometimes getting easily manipulated. 

A moral and social response has to be developed with a special emphasis on education and equal opportunity.

I tried to give a sense of this human situation by the cello performer's unavoidable difficulty while playing 'At the Edge'.

At the Edge

At The Edge

33 - RAW - Ephemeral

Metathesis (2006)
for two contrebasses, one performer
Metathesis (2006) is an electroacoustic composition by Tolga Tüzün, composed at IRCAM during Cursus 2005-2006. 

Watch the video at: http://vimeo.com/5892498#at=0

Metathesis (2006)

Ensemble Itinéraire
conductor: Mathieu Romano
baryton: Mathieu Dubroca 
computer music design: Serge Lemouton
computer music assistant: Etienne Lémoulin
Commission of Ircam (2019)
brahms.ircam.fr/works/work/45959/
https://medias.ircam.fr/xc9bf1a

"Métanoïa" for baryton, ensemble and electronic

for viola, violoncello, contrabass, percussion and electronics
Premiered by Hezarfen Ensemble on October 31st, 2019 
Commissioned by Dystopia Festival
Concert recording: Gökhan Deneç

“Misshapen chaos of well-seeming forms” 
William Shakespeare

“Natura respuit ut contraria quaeque iungantur” 
(Nature refuses the joining of unlike things)  
Boethieus

“There is a strange power in the joining of unlike things.”
Carnival Row season 1 Ep.4 15:04

The most successful dystopian fictions are created not by merely imagining a “utopia-gone-wrong” places but by exaggerating the features of the Past and the Present that contain potentials for them to become dystopian. These dystopian features are to be sought in the contemporary canvas of our societies: social memory loss, disregard for differences, unfounded familiarities, traces of past mass violence. What we call “ourselves” in a modern society are interwoven acts of barbarisms and adequate forgetfulness/indifference that go along with them. 

Les Traces de Notre Futur Antérieur for Hezarfen Ensemble takes this idea of “uncovering what is lost as a result of violence” and translates it into a musical circumstance that is inspired by the texts belonging to the people who once inhabited the Anatolian land for centuries.

Les Traces De Notre Futur Anterieur(2019)

Gedik Philharmony Orchestra
Conductor: Cem-i Can Deliorman

İlhan Usmanbaş Çizgiler - Diskant Ensemble

erhan birol

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