Laser/TouchDesigner: Yu Zheng
Baritone Saxophone: Wataru Mori

Premiered at The "Live Electronics 2021" @Tokyo University fo the Arts
7 Hall, Senju Campus, 11/16/2021
Baritone Saxophone: Noriko Arashida

Program note

映画「12モンキーズ」では、時間閉環という現象を描いている。既に決まった構造を繰り返す中、どれほど変えようとしても異なる方向で同じ結果に辿り着くだけだとされる。この作品では、聴覚と視覚の構造がそれぞれ閉環になっており、まるで類似する段落が繰り返していく中で演奏家はただ冷淡としながら進行を覗いているような様子。テクスチャー、音色、光の存在は、この冷淡な覗きを支えるとともに、最後の閉環となる。

Ring Enclosure 閉環 (2021) for baritone saxophone, LaserCube and electronics

「ラブ・ストーリーは永遠に...」
-Never Came- 0.1

Premiered at AI and Composition III
Tokyo University of the Arts

Conductor: Hiroaki Takaha
Saxophone: Masanori Oishi
Violin: Yohanan Chendler
Viola: Takahiro Yasuda
Cello: Takui Matsumoto
Percussion: Mizuki Aita

この作品はラブ・ストーリーをテーマに作られている。AIの影響により、永遠に実ることのないラブ・ストーリーを味わってみよう。

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https://gotolabedu.geidai.ac.jp/ai-and-composition-iii/
発展が目覚ましい AI（人工知能）の技術を用いて、人間がこれまで聞いたことがなかった新たな創造をコンピューターと共に行うものである。今回の作品は「AIと作曲」の研究の中でも、特に演奏形態を重視した実験が行われた。演奏者のみで演奏される形態であり、コンピューターのサウンドは一切発しない。その演奏は指揮者とAIと人間の奏者による演奏形態である。 ここでのAIとは、人間の指揮者の動きに対して、AIがそのジェスチャーを理解して、アンサンブルの各演奏家に個別に独自の指示を行うシステムである。

Never Came 永不到来的爱情故事 (2021) for 5 players (ver. 0.1)

第７回両国アートフェスティバル　委嘱作品
Comissioned by the 7th Ryokoku Art Festival

Premiere delayed to 2022/08/11
3rd order Ambisonics
Piano: Haolun Gu

「想像」というのは未知の感覚世界を探索する原始的衝動であり、抽象的特徴の持つ音楽はさらにその中の最も原始的な存在だと思われる。しかし、固有観念において、音楽は普通に時間的構造に依存し、その存在によって、視聴者は導かれ、作品を理解させていく。想像は違う。考えられたもの、聞かれたもの、見られたものまでにより、時間に頼らず、人間は心で仮想風景を描いたり、膨大な物語を築いたりする。本作品はこの発想をもとに、仮想劇場といった概念と融合し、音色の差異、及び舞台表現によって風景の変化を表す。このような「無進行感」に近い体験はまるで鯨が深海に沈むゆき、緩やかに流れている風景に身を任せ、海流、魚の群れ、星河、チラチラする光と影と流れる音が巨大な体と共鳴しつつ、残響を生じ、漂っていく。

"Imagination" is a primitive urge to explore the unknown sensory world, while music, as an abstract thing, is probably has the most primitive features among them.However, in a "traditional" opinion, music usually depends on the temporal structure, and which is that structure guides listeners to understand the piece. Butimagination is different. Depending on what we thought, what we heard, and even what we have seen, we could draw virtual landscapes or build enormous taleswithin our mind, regardless of time. Based on this idea, this piece fuses with the concept called "virtual theatre", and shows the changing of "landscapes" throughtimbre differences and stage performance. This "non-progression-like" experience is just like a whale sinking into the deep ocean, and all the landscapes areflowting around. Ocean currents, fish flocks, milky way, flickering light and shadows and floating sounds resonanting with that huge body. Producing reverberationand echo, and drifting away.

Sinking Whale 下沈的鯨 (2021) for piano and electronics DEMO

Premiered by Ensemble H [akka]
Higashi Ward Community Cultural Center, Hiroshima, 04/30/2022

Flute: Misaho Miyamoto
Trumpet: Akiko Mishima
Violin: Mariko Miyazaki

"Whistles far away..." 遠笛 (2020)  for flute, trumpet and violin

Short Animation Film
Director: Mingcheng Liu
2023, Musashino Art University

VI. Finale

V. Mechanical Dances

IV. The Rite Of Eating

III. Melting Dances

II. The Elder

I. Overture

Premiered:
Collection of Live Electronics at Tokyo University of the Arts, 7 Hall, 11/11/2024.
https://gotolabedu.geidai.ac.jp/en/le2024-2/

Cello: Aki Kitajima
Pianist: Hyun-Mook Lim
Disklavier: Yamaha DKC-800

===================
Program Note:
Shuntaro Tanikawa considers envy to be one of the five fundamental human emotions. He once dedicated a love song to an imaginary “YOU”—a figure who exists only in a completely unfamiliar, virtual world. Humans are creatures driven by possessiveness, desiring even in their final moments. Also in this composition, directed toward a “SOMEONE” who never appears in the concert hall, we explore deep emotions interwoven with imagined scenarios through the resonance of sound. As the music permeates and connects, it expresses a longing to break free from the obsessions of envy.

Plasmolysis: envy (2024) for cello, pianist, disklavier and electronics

Evening Primrose 夜芷 (2015) for harp and live electronics

Premiered at He Luting Hall, Shanghai Conservatory of Music, Jun, 2017.

1st Violin: Jielin Cai
2nd Violin: Wenjia Zhu
Viola: Feng Xue
Cello: Wei Shan
Piano: Wen Pan

Hotaru  螢 (2017) for piano quintet and live electronics

ICSAF2019 / NYCEMF2020 / ICMC 2020

THE CENTENNIAL OF THE ELECTORONIC MUSICAL INSTRUMENTS by National Museum of Nature and Science, Tokyo

"Selenograph" is a piece of composition for piano and live electronics, mixed in 6-channel for live performance. The concept of the sound is based on the ray and cosmic dust which scatters in the universe. And the whole composition attempts to draw an image of a space travel, including the mind of the astronaut which arises from facing the isolation, mystery and danger by using the concept above. "Selenograph" uses the original sound of piano which picked up by microphones, and the same piano sound which is recorded and modulated lively by computer. Meanwhile, presetted sound files are also used in a DAW as playback. 


Premiered at Studio A@Tokyo University of the Arts
Oct. 28, 2019

Piano: Haolun Gu

Selenograph  月面 (2019) for piano and live electronics

AI and Composition 

February 19, 2019, 18hs. Tokyo University of the Arts, Music Environment Creation Department, Senju Campus, 7 Hall. 
1-25-1 Senju, Adachi-ku, Tokyo 120-0034 

Program

Artificial Intelligence and Music Composition (first half)
Presentation about Artificial Intelligence and Music composition (Suguru Goto)

Suguru Goto Duali II (World Premier) Recorder and String Quartet (１vn Kamei)
Haolun Gu Serenograph II (World Premier) Recorder and String Quartet (１vn Kamei)
Manjie Enchanted (World Premier) Recorder and String Quartet (１vn Kamei)

Serenograph II / Haolun Gu
This is the second music work from the “Serenograph” series and has been written inspired on the theme "Fragments and particles”. A faraway place from me, a place sterile and full of radiation. I consider that the inner voice, born from extremely quietness becomes music. Using a special method that we can call it as “sound effect”, more similar to a noise than a musical note, as it has no pitch, the idea of music, from the center of itself, raises. For this reason, some ideas and motifs were created and artificial intelligence based on OMax, was used to help with the concept of the work to be developed.

Performer

Tosiya Suzuki/Recorder
Yoshu Kamei/Violin
Yohanan Chendler/Violin
Takahiro Yasuda/Viola
Tai Tomoki/Cello

Serenograph Ⅱ  月面Ⅱ (2019) for recorder and string quartet

STAY AT HOME CONCERT - Emergency Human Satellite connection. 
オンラインコンサートLive Streaming Concert
月曜日5月4日20時・ May 4, 2020, at 20:00 PM (Tokyo time)
(Lunes 8AM Argentina)

Max Summer School in Geidai 2020 LIVE CONCERT

This is why we need to fix the bridge 2.0

Program note:
  It is thought to be necessary that think about what we can do during this hard time. Due to the lockdown of cities, and keep staying at home caused lots of limitation indeed. Or we can consider the whole thing on the other side, that this is the time perfectly for us to stay with music, and share all the delight which earned from music with all the people around the world. Through live streaming, our music is made to be a so-called bridge, crosses over nationality, language, etc. In this piece, extremely simple sound samples are used as instruments, engender an immersion experience through live electronics. With other prepared samples such as hammering sound like bell, inside piano, footsteps, street sound and voice, conveys primitive empathies of human beings.

"This is why we need to fix the bridge" for electroacoustic

Heterogeneous for animation and chamber orchestra

Premiered at The Contemporary Composition 2020  — AI, Space, Live Electronics
Funded by Muto Mai Fundation

Ryokoku Monten Hall, 11/18/2020

Trumpet: Yuta Uetake

3rd order Ambisonics

Dispersing / 敛雾收云
We find, we lose. We meet, we leave.
Rather than seeking harmony in the existence of confusion, humans expect the feeling of confusion while “living” in the harmony. In everyday life, we meet groups of people, noise and emotions just gathering around us――right, the image of life is where different objects belong to. Though, we are all getting used to them. We cannot receive any feeling of odd and freshness. However, just like a dandelion-colored umbrella enter a group of transparent umbrellas while spinning around, adding a little “color” into daily life will truly catch one’s eye. Since we have different senses, it is possible to point out that this is the exclusive moment for the person who felt it. Also, It's not surprising that there is a conflict between that person and another person who just treated that like a normal scene. But from the perspective of an outsider, that’s the moment when dramatic tension arises. In this piece, the performer, sounds, and sound-environment will interact with each other in order to “capture” those dramatic moments.

斂霧収雲
沈浮往来し、雲集霧散す。
人間は常に混乱という存在において調和を求めているより、調和に生きていきながら混乱を感じられることを期待している。日常生活であれば、身の回りは人の群れ、騒音の群れ、感覚の群れ――言うまでもなく、異なる対象によって生活の群像が成立するとは言えるのだが、こうした群像が日常でありすぎて慣れてしまい、その中に違和感も感じず、新鮮さも生み出せない。しかし、透明傘の群れに一本のたんぽぽ色の傘が回っているように、少しだけ日常に色を入れると、目が引かれるのだろう。人の感覚もそれぞれであるため、ある程度、それはその人にしか属せない瞬間である。目が引かれる人と、普通にそういう風景を見逃した人とは対立しているのは当然でありながら、第三者の視点を合わせると、それこそドラマチック・テンションが生じる瞬間であるように思われる。本作品では、演奏家、音響、音環境がお互いにインタラクションすることにより、劇的な瞬間を掴めていく。

Haolun Gu

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