Harp – Milana Zarić

https://sonology.bandcamp.com/album/post-scriptum-music-from-the-institute-of-sonology

Richard Barrett - Tendril (Post Scriptum 1)

https://sonology.bandcamp.com/album/post-scriptum-2-music-from-the-institute-of-sonology

Marie Guilleray - Estran (Post Scriptum 2)

This playlist is offered as an alternative for the Sonology Discussion Concert on 25th March 2020 that had to be cancelled due to the coronavirus measures.

Giulia Francavilla: Forma Volatile

Kees Tazelaar: Chatoyance 3

Dariush Derakhshani (live coding) 
Kristupas Gikas (tenor saxophone / flute) 
Ranjith Hegde (electric violin / electronics) 
Myrtó Nizami (piano/keyboard) 
Farzaneh Nouri (computer) 
Richard Barrett (computer/keyboard) 
Marko Uzunovski (live mixing)

Sonology Electroacoustic Ensemble: 11th December 2019

Giulia Francavilla: Forma Volatile (binaural mix)

Marie Guilleray / Bjarni Gunnarsson: l'Imaginaire du parleur (binaural mix)

Kees Tazelaar: Serenade (binaural mix)

Horacio Vaggione: Timpani Trek

There are no walls. 
1. Tilt your head to left and right
2. Wander with eyes closed
3. Find your spots
4. Walk through the walls of sound (with open eyes)
5. Repeat above in arbitrary order 

Saxophone by Jamal Moore

07. There Are No Walls by Mint Park

Crosstalk A and Crosstalk B are the first works I composed for Wave Field Synthesis playback. 
As a starting point for Crosstalk A, a series of sounds with clear, single pitches was used. This series of sounds was transformed electronically in many ways, during which each transformation also imposed a specific spatial quality on the material. The extent to which the pitch information survived the transformation was a parameter too, as was the duration of the transformed sequence of sounds: from several minutes to only a few seconds. The transformed sequences themselves were again transformed, until a matrix was created which was used as a basis for large-form decisions. The different sections of the piece limit themselves to certain zones from the matrix.

Crosstalk A was commissioned by the Fonds voor de Scheppende Toonkunst and was premiered during the Inventionen 2009 festival in Berlin.

06. Crosstalk A by Kees Tazelaar

“Vernal (Edit)” was recorded shortly after the Spring Equinox of 2020, in the early days of quarantine, as the crowded hush of isolation was just settling in. Its pitch series is derived from a spectral analysis of the featured bell sound, and its two synthetic sources (digital sine and analog square waves), in addition to the organic bell, were subjected to various tape recording and resultant degradation processes, then mixed in the WFS environment. Despite this somewhat analytical methodology, it still manages somehow to belong within the uncertain expectancy of this liminal period, in which something – nobody knows what – is waiting to assume shape, during which the contents of mind are the only actual resources available (as ever), and for which everything made must inevitably be about, even the things that aren’t. Perhaps that makes this a song about waiting; waiting (instinctively avoiding the presence of other bodies, never breathing in too deeply – which is not at all instinctive, but second nature) for this New Creature, which emerges strangely from around the next, near corner.

04. "Vernal (Edit)" by Brian Short

This piece plays with the listener’s sonic expectations of what is familiar by fusing sounds, which a person can easily recognize, with new previously unheard sounds generated by algorithmic processing. By using various sounds and sonic artifacts that are common to the human experience, the work directs the listener to draw upon his inner visual associations with specific sounds and paint a mental soundscape of the acoustic experience. The introduction of other, unfamiliar processed sounds into the composition, invites the listener to break away from this familiar associative chain of acoustic phenomena and push the boundaries of his perception, in the process forming new sonic combinations and auditory experiences.
The musical piece was fully recorded and compiled in the Tonshoom Studio in April 2020. Some sounds were recorded using musical instruments, sound props, and speech; others were synthesized with SuperCollider. The final track was mixed down in Pro Tools and WFSCollider.

03. hybrid by Ivan Yerofeyev

"…and this too will be swept away" was made in May 2020. The title is a quote from Roman Emperor and Stoic philosopher Marcus Aurelius (121–180). The decision to choose this title initially stemmed from references invoked by the sound materials used — water flowing, ticking clocks, sliding rock formations, etc. The piece also deals with the shift of perspective on the passing of
time in this time of pandemic. Additional interesting fact to mention: Marcus Aurelius died as result of a plague (most commonly thought to be Small Pox). During that plague he wrote his famous Meditations, a collection of his thoughts commonly seen as one of the most important writings of Stoic philosophy. This piece was composed entirely with the aid of WFSCollider in my home studio. I’ve employed my ideas about spatial audio, mostly dealing with the composition of large, scattered “fields” of sound versus small “points”. The piece does not deal with movement as such but rather the scattering of textures in a large sound field.
The form of the piece evolved fluently from the use of the basic materials and processes used. It is the first piece in a very long time where I employ the use of field recordings. These are combined with edited recordings of two electronic improvisations with digital feedback FM synthesis and the Benjolin analogue synthesizer developed by Rob Hordijk. Processing was mostly done digitally in WFSCollider. The field recordings were made at Høvikodden, a small beach headland in the Oslofjord that houses the Henie Onstad Kunstsenter and sculpture park and the headquarters of classification company Det Norske Veritas (their building’s ventilation system is sound material in a part of the middle section of the piece). Binaural rendering was done in Reaper using Aalto university’s Sparta AmbiBin plugin.
Thanks first and foremost to Ji Youn Kang for letting me participate once more in this festival. I’m also very grateful to Wouter Snoei for his WFSCollider software and especially for the fact he implemented the Ambix export option at my request.

02. "...and this too will be swept away" by Ernst van der Loo

Lagoon is a piece composed for the WFS system in 2019 and now proposed in a version for headphones.
The piece has been conceived as an exploration of the behaviour of short sound samples when manipulated by fragmented streams of numbers. I associated the sounds to creatures living and changing together within their habitat, imagining some of the things that are happening under a still water surface.

01. Lagoon by Giulia Francavilla

Due to the Covid 19 pandemic, this year's Sonology final exam concerts were all cancelled. We have therefore created a playlist with a selection of works that were all mixed for headphones, so that at least we can share some of our music with our audience.

Marylou Petot: Tribute to the Birds (binaural) one-year course

Ernests Vilsons: Synthetic Whistles, Field Subtraction (for headphones) MMus 2

Ka∂lín Ólafsdóttir: flutter (binaural) BMus 4

Michael Kraus: Butterfly Effect (binaural) MMus 2

Margherita Brillada: Stati D'Ansia - C1 (binaural) MMus 1

Davide Andriani: Contrasts (for headphones) BMus 2

This piece was made in 2001–02 with analogue and digital techniques, while following the 29 assignments of Koenig's 1964–65 Bilthoven course for electronic music.

Kees Tazelaar: K12 (2001-02)

Ramon Zupko: Metacycles (1966)

Ramon Zupko: Transients (1965-66)

Berend Giltay: Polychromie (1965-66)

Rainer Riehn: Chants de Maldoror Version 1 (1965-66)

Luctor Ponse: Nacht (1965-66)

Gary McKenzie: Luminations '65 (1964-65)

Tera de Marez Oyens: Etude II (1964-65)

Will Eisma: Bth. 3457 (1963)

The sonologist moves in the field of electroacoustic music, computer music and sound art. Instead of composing ‘with’ sounds, as is generally the case in instrumental music, in sonology the sound itself is composed in such a way that it gives expression to musical form. This can take place on the basis of the physical principles of sound, on the basis of perception or on the basis of purely compositional ideas.

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