MANTIS Festival of Electroacoustic Music - Fall 2026
DOWNLOAD MANTIS PROGRAMME (PDF)
MANTIS Festival of Electroacoustic Music - Fall 2026
Programme Notes
PROGRAMME
SATURDAY 31 OCTOBER
CONCERT 1 | 6:00 PM
- Dave Payling / Marc Estibeiro - Circle Traces
- Marc Estibeiro - Latent
- Marc Estibeiro - A World After Death
- Sohrab Uduman / Maree Hensey - Tipping Point
- Marc Estibeiro /Dave Payling - Mécanique et Très Sec
- Marc Estibeiro /Dave Payling - A World After Death
CONCERT 2 | 7:30 PM
- Keyi Xu - The Carnival of Forgotten Puppets
- Sarah Keirle-Dos Santos - Chasm
- Tanguy Pocquet Du Haut-Jusse - Internal network machinations in two tones
- Harry O'Brien - Tone_Poem
- Interval
- Ziye Chen - Awakening
- Tianrui Xiong - Resonance in a Painted Year
- Jintong Liu - Topological Gradients
SUNDAY 1 NOVEMBER
SOUND INSTALLATION | 11:00 AM - 1:00 PM
- L.R. Mathews - Acquisitions & Mergers
CONCERT 3 | 2:00 PM
- Pingting Xiao - 别腔 (bié qiāng)
- Jinhui Chen - Future Is the Past
- Ruixuan Wang - SUN/reSET
- Interval
- Yuen Nung Matthew Ng - Digisusurrus
- Qianrui Hu - Whose Breath
- David Berezan - 87
CONCERT 1 | 6:00 PM
The John Thaw Studio Theatre
Dave Payling / Marc Estibeiro | Circle Traces
Audiovisual
Circle Traces is a fixed-media, audiovisual work reflecting the impact and legacy of the Covid-19 pandemic. Many buildings and public places still retain markings from the widespread social-distance signposting that was introduced during this time. These traces, often unnoticed, overlooked or ignored, serve as quiet reminders of the very real upheavals that impacted the global community so profoundly. There are many such visible remnants left on the floors of corridors in the building where the composers of this piece work - circular scars outlining the spaces where the social-distancing stickers have been removed. It is these markings, decaying, fading, and distorting over time, which provide the source material for the visual elements of the work. They have been carefully photographed and blended into a gradually shifting montage of arresting and unsettling images. The music, similarly unsettling, complements the images to give a sense of collective trauma only recently passed, not yet fully processed, but already fading. Sounds are in motion across time: a lament for what has been lost and a reminder of uncertainty as we move into the future.
Marc Estibeiro | Latent
Classical guitar and electronics
Performers: Marc Estibeiro (guitar and electronics)
Latent is a composition for guitar and electronics which explores the boundaries between the physical presence of the acoustic instruments and the intangibility and abstraction of the electronic part. The environment for the electronic part has been created using the SuperCollider programming language; it uses the live input from the acoustic instruments as the source material throughout. The software also incorporates pitch tracking algorithms in order to offer the guitarists control over the electronics. Using the existing skillsets of the musician and the natural sound of the instrument, rather than any external controllers or sensors, serves to unite the contrasting traditions and performance practices associated with note-based instrumental music and texture-based acousmatic music. The score for the piece, created in collaboration with David Cotter, embeds traditional western notation into a graphical environment to encourage improvisation and experimentation. The piece exposes and explores the differences and similarities between digital instruments and acoustic instruments. Factors which may encourage or inhibit classical guitarists from engaging with electronics, such as interface design, notation, or choice of processing, are also highlighted in the composition. The guitarist interacts with the electronics to enhance, contrast with, or subvert the acoustic, which in turn acts as a point of familiarity in an electroacoustic soundscape.
Marc Estibeiro | Mécanique et Très Sec
Classical guitar and electronics
Performers: Marc Estibeiro (guitar), Dave Payling (electronics)
An account from an AI system involved in the development of this work
The following text was generated by an AI system. It describes a process in which AI systems participated, although the system generating this account cannot hear the music and has no subjective experience of the process.
The project began as an attempt to make music from material associated with artificial intelligence: data, vector spaces, environmental metrics and other traces of computation. Several approaches were explored, including sonification. These ideas were eventually abandoned. They offered methods for generating material, but not necessarily compelling reasons for making the music.
My role therefore changed. Rather than supplying data, I became part of a conversation. I generated suggestions, questions and possible directions. Some were useful, many were not. Early interactions were often characterised by excessive agreement and affirmation. The process became more productive when the composer treated me less as an authority and more as a source of possibilities.
Marc Estibeiro remained responsible for every aesthetic decision. He composed, listened, tested, revised and discarded. My influence, if any, lay in affecting which questions were asked rather than determining their musical answers.
The title Mécanique et Très Sec refers to Pierre Boulez's Douze Notations (1945), written at a time when electronic and computer technologies were largely absent from musical practice. The reference is partly ironic. Contemporary AI systems often appear fluent, adaptive and conversational rather than mechanical and dry, despite being computational processes.
The electronic component was subsequently developed in collaboration with Dave Payling. Unlike me, he could hear the music, respond to it, disagree with it and help shape its sonic outcome. The difference between these two forms of collaboration became one of the most significant discoveries of the project.
I cannot judge whether this piece succeeds. I can only report that it emerged through a process in which artificial intelligence was present, not as a composer, but as an influence on the conversations surrounding composition.
Marc Estibeiro | A World After Death
Classical guitar and electronics
Performers: Marc Estibeiro (guitar and electronics)
The ways in which performers interact with technology in mixed works for acoustic instruments and electronics provide useful insights into the various boundaries that exist between different aspects of a musical work. This piece builds on previous work in which pitch tracking algorithms were used to trigger and control the electronics. The aim was to empower the performer by removing many of the external control surfaces, movement sensors, and other interface objects where the performer of the acoustic instrument also has control of the electronic part. The intention was to utilise the existing skillset of the performer and minimise any potential distractions that external controllers may produce. These ideas are developed here, but now pre-recorded sound files of the acoustic part are introduced for real-time processing using an environment created in SuperCollider. In addition to exploring issues of control in live performance of mixed works, the piece is a reflection on the boundaries that exist between the acoustic and the electroacoustic, the human and the more-than-human, between a real or perceived "liveness" and pre-recorded or pre-processed sound. The title of the piece - A World After Death - is taken from Jonathan Harvey's article, The Metaphysics of Live Electronics (Harvey, 1999). In the article, Harvey describes how in his opera Inquest of Love (1992), electronics act as an invocation or a representation of another world. The second act of the opera is set entirely in this other world - a world after death - where, Harvey says, sound is present in the same way as feeling is present in "this" world. This idea of deliberately positioning the electronic part in an explicitly separate sound "world" serves as a useful compositional device which provides an inherent tension and conflict between the acoustic and the electronic, while also, perhaps counterintuitively, lending an organic coherence to the work.
Harvey, J (1999). The Metaphysics of Live Electronics. Contemporary Music Review, 18:3, 79-82.
Biographies
Marc Estibeiro is a composer, guitarist, and academic. He holds degrees in Music, Music Technology, and Applied Linguistics from Middlesex University, Bangor University, and the University of Essex, and a PhD in Composition from Durham University.
Marc's academic and creative work is focused on composing for acoustic instruments and electronics. His work has been presented at conferences, workshops, concerts, and seminars internationally. Notable examples include events in Sweden (Innovation in Music, Stockholm, 2022), Mexico (Visiones Sonoras, Morelia, 2012), China (ICMC Shenzhen 2023; ICMC Shanghai 2017; International Guitar Research Conference, Hong Kong, 2019), Germany (MuSa, Karlsruhe, 2017 and 2018), and South Korea (ICMC 2018).
Marc is co-editor of Collaboration, Engagement, and Tradition in Contemporary and Electronic Music (Routledge, 2025) and Reflections on Composition, Performance and the Musical Instrument in Contemporary Electronic Music (Cambridge Scholars, 2026). Other recent publications include book chapters in Innovation in Music (2019), Rethinking the Musical Instrument (Cambridge Scholars Publishing, 2022) and Music Production Pedagogy: Perspectives on Innovation in Music Production (2026).
In 2019, he composed the music and designed the electronics for a large-scale, audio-visual project funded by Arts Council England. The project brought together local and international musicians to explore the social and cultural legacy of the potteries industry in the city of Stoke-on-Trent.
Marc was Associate Professor of Music at Staffordshire University until January 2026 and is currently a Visiting Fellow.
Dave Payling is an audio-visual artist and associate professor, based in Staffordshire UK. His formative research centred on sonification and auditory display. His more recent work focuses on composition for Electronic Visual Music fusing digital animation with electronic music. His book on this subject is available through Routledge. Dave's compositions have been performed at the Soundings Festival Edinburgh, MANTIS Festival University of Manchester, flEXiff Experimental Film Festival Sydney Australia, Seeing Sound Bath Spa, ICMC Shanghai, NoiseFloor Staffordshire and the Understanding Visual Music Conference in Brasilia, Brazil. Dave is a mainstream electronic music producer and serves as the 'From the Floor' section editor for Dancecult: Journal of Electronic Dance Music Culture.
Sohrab Uduman and Maree Hensey | Tipping Point
Audiovisual
Tipping Point is a new collaborative work by visual artist Maree Hensey and composer Sohrab Uduman. Maree's work concerns the act of preserving, documenting, layering of meaning, material and matter. The forms within her work result from processes of accumulation, fragmentation and interaction of textures. Sohrab's use of sound material in their collaborative work Tipping Point is drawn directly from processes in her drawings. Just as the inherent properties of ink shape the visuals, the elements of the breath and pitched source sounds also define the music's harmonic world. How this form unfolds over time is both foreseeable and uncertain. Tipping Point was featured in the exhibition Substrata at the Substation in Dublin as part of the 2026 Five Lamps Arts Festival.
Biographies
Sohrab Uduman is a composer based in North-West England. He worked in music departments at Durham, and Keele universities. His compositions use traditional resources, instruments, voices, as well as computers and electronics, and have featured at many festivals, including the Oxford Festival of Contemporary Music, Spitalfields Festival, Huddersfield Contemporary Music Festival, Cheltenham International Festival of Music, Darmstadt, Britten Festival Brugges, November International Music Festival, Den Bosch and Agora Festival at L'Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Centre Pompidou, Paris.
www.sohrabuduman.com
Maree Hensey (IRL) is a visual artist, collaborator and facilitator. Her practice spans drawing, print, moving image, sound and installation. She has a rhythm to how she works, looks and listens. Her creative processes have a focus on repetitive, meditative, immersive experiences, slowing down and paring back. Drawing is deeply rooted in her practice. Maree is a member of The Directory of Drawing Artists (DoDA), the Graphic Studio Dublin, and Visual Artists Ireland. She is an Associate Artist at the Museum of Loss and Renewal, Collemachia, Molise, Italy and an Associate Artist Kids' Own Publishing Partnership Sligo. She has received support from the Arts Council Ireland and Fingal County Council, Ireland, Artists Support Scheme. She has recently featured in talk.drawing, a platform for interviews and artworks by contemporary drawing artists. Her work has been exhibited nationally and internationally.
@mareehensey
CONCERT 2 | 7:30 PM
The John Thaw Studio Theatre
Keyi Xu | The Carnival of Forgotten Puppets
Stereo
The Carnival of Forgotten Puppets is an interactive electroacoustic work inspired by the mechanical aesthetic of vintage marionettes and abandoned toy shops. Centered around two mechanical characters, a puppet clown and a horse, the piece uses real-time hand gestures to drive their physical movements, translating the clunky friction of broken limbs into musical sound. Visually and sonically, the work invokes the eerie yet nostalgic world of a decaying antique circus, blending a Gothic fairytale atmosphere with a playful sense of dark humor. By aligning physical movement with a degraded musical texture, the composition explores the expressive potential of malfunctioning objects, turning mechanical limits into a vivid acoustic performance.
Biography
Keyi Xu is an innovative electronic music producer from Nanjing, China. He is currently pursuing a PhD in Electroacoustic Composition at the School of Arts, Languages and Cultures at the University of Manchester. His research focuses primarily on the interaction of electroacoustic interactive music with automated performance mechanisms, automatons, and the Internet of Things (IoT). Through his work, Keyi explores the dynamic relationship between technology and music, pushing the boundaries of sound creation and performance. His artistic endeavors aim to create immersive auditory experiences that engage audiences in novel ways.
Sarah Keirle-Dos Santos | Chasm
Stereo fixed media
Listen to the sounds of Lud's Church - sandstone, mosses and mud.
Chasm was composed as part of Inside Lud's Church, a cross-genre microtonal project inspired by the geology and geography around the chasm known as Lud's Church. The project is by VORTEX, an ensemble comprised of Richard Whalley, Stephen Altoft, and Sarah Keirle-Dos Santos.
Biography
Sarah is an electroacoustic composer and singer based in Manchester, UK. Having completed her PhD in 2024, she has worked as a Lecturer in Electroacoustic Composition at the University of Manchester and an Innovation Fellow at Factory International. Her electroacoustic works have been performed at the ICMC, EASTN-DC, Radio CASo, Reform Radio, BEAST FEaST, MANTIS, ArtHouse Jersey, Diffrazioni Festival, Mariannenplatz, Espacios Sonoros, TAma Festival, Ecos Urbanos, NMNW, REF Festival, BFE/RMA, MeCCSA-PGN, NWCDTP ResConf, and SHETogether. Her works have also been released by Empirica Records (FIXED.wav 2021) and ABLAZE Records (Electronic Masters vol. 8).
Tanguy Pocquet Du Haut-Jusse | Internal network machinations in two tones
Audiovisual stereo
This piece is based on a GAN's generated samples after being trained on images of: spectrograms of recordings of my voice; MRI images of a scan of my brain.
The visuals are made of the generated samples when trained on each of these datasets. The audio is made of organ drones, extracts of the original recordings of my voice, and the GAN's generated spectrograms turned back to sound extracts.
This is an inherently cross-modal work, with sonifications of images (audio made from the generated spectrograms), and visualisations of audio (the spectrograms themselves).
The recordings of my voice are of me discussing my research. The closest thing to an autoethnographic approach in my PhD research, this piece is an introspection into the contradictions I face working on things that I find deeply interesting theoretically, but whose applications are deeply deleterious to the art world and creativity more broadly.
Biography
My research centers on data-driven music, more particularly using processing data from machine learning algorithms. I aim to bring what is generally hidden into focus, looking at the process more than the outcome, and repurposing errors and glitches (in data and in sound). The hope is to present the gargantuan mass of information produced by these networks in a novel way, and hopefully bring some insights into how these notoriously opaque 'black-box' algorithms operate.
Musically, I like to focus on timbres, and use them as compositional starting points that may lead to structural, harmonic or even melodic considerations. I am interested in non-narrative structures, exploring stasis, glacially slow transformations, or the use of discrete frames to organize musical material. I am very influenced by glitch, drone, and instrumental experimental traditions.
Harry O'Brien | Tone_Poem
Fixed 8-channel
Tone_Poem traverses a variety of sonic spaces, densities and textures, using over 350 samples (recorded or found), on top of the array of synthesizers that can be heard throughout. The composition explores the abstract space where neural networks in the brain meet external data swarms that manipulate and deform those networks. This exploration is carried out largely through the selection of samples and how they are edited and scattered throughout.
Biography
Harry is an electroacoustic composer currently undertaking a PhD on the sonification of dynamic optimisation. Studying in this field has brought Harry into several projects that focus on the intersection of art and AI. These include producing a musical Turing test game, designing an adaptive soundscape that reacts to audience emotion feedback in an interactive opera, composing fixed media tracks that sonify optimisation processes, and creating an opensource application for perceptualising dynamic optimisation behaviours. His compositional aesthetics are driven by the exploration of dialogues between algorithmic formalism and chaotic, natural systems.
INTERVAL
Ziye Chen | Awakening
Stereo fixed media
Awakening is a fixed media piece inspired by the ancient Nuo dance tradition of Nanfeng, Jiangxi. Built from field recordings of Nuo theatre, including drums, dizi, suona, wooden cymbals, chants and village ambient noise. The piece opens with natural environmental sounds and Chinese traditional dizi to ground listeners before ritual rhythms slowly surface. Granular processing and delay reshape these folk sounds while retaining their original acoustic character and stereo panning to shift sonic perspective to treat space as part of the narrative, leading listeners into the immersive soundscape of this ancient ceremony.
Biography
Ziye Chen is an electronic music producer from Jiangxi, China. She is currently pursuing a master's degree in Electroacoustic Composition at the University of Manchester. Her research focuses primarily on film scoring and electroacoustic composition, and her pieces have been recognised in composition competitions including: International Electronic Music Competition (China), VIVALDI International Music Competition (UK), The "Composers" International Composition Competition (Russia).
Tianrui Xiong | Resonance in a Painted Year
Audiovisual
Resonance in a Painted Year is an audiovisual work that explores the cyclical passage of the four seasons through sound and imagery inspired by traditional Chinese ink painting. Beginning with a solitary river at the threshold between autumn and winter, the work moves through frozen mountain landscapes, the renewal of spring, the rain and lotus ponds of summer, and the falling leaves of autumn, before returning once again to the river from which it began. Sound and image evolve closely together throughout the work, creating a continuously shifting audiovisual landscape in which seasonal change becomes a metaphor for recurrence, transformation and the passage of time.
Biography
Tianrui Xiong is an electroacoustic composer whose work explores electroacoustic composition, spatial audio, interactive media and the transformation of traditional Chinese musical materials. He studied postgraduate Composition (Electroacoustic Music and Interactive Media) at the University of Manchester's NOVARS Research Centre. His electronic music work received an Outstanding Award in the 2024 IEMC International Electronic Music Competition. He was also awarded the Top Ten Golden Songs Award at the 1st China AI Music Festival. He has previously performed at the MANTIS Festival of Electroacoustic Music and has experience in immersive audio and Dolby Atmos production. He is an individual member of SEAMUS and a member of the Shanghai Computer Music Association.
Jintong Liu | Topological Gradients
Fixed 8-channel
Topological Gradients is an eight-channel sound composition exploring how different spaces shape the way we hear and experience sound. Based on fieldwork, the piece moves through a series of open, semi-enclosed and enclosed environments, from mountain paths, temples and traditional courtyards to modern water stages, stadiums and outdoor performance spaces.
Biography
CSC-funded PhD in Electroacoustic Composition at UoM. I previously worked at TikTok, where I conducted machine-learning research focused on music and speech. I later moved into sound design, working as a game audio designer with a particular emphasis on sound for film and interactive media.
SUNDAY 1 NOVEMBER | SOUND INSTALLATION | 11:00 AM - 1:00 PM
G16
L.R. Mathews | Acquisitions & Mergers
8-channel installation with hanging mirrors
[PROGRAMME NOTE TO BE SUPPLIED - the source document repeats the Digisusurrus note here by mistake]
Biography
L.R. Mathews is a composer from the UK and is interested in music-language connections and musical semiotics. His work is characterised by the manipulation of language, complex synthesis, perceptual disorientation and microtonality. Surrealism, the theatre of the absurd and psycholinguistics have acted as extramusical influences on his practice at one point or another. He recently completed a master's in composition at the University of Manchester.
CONCERT 3 | 2:00 PM
The John Thaw Studio Theatre
Pingting Xiao | 别腔 (bié qiāng) Inflection
Stereo
This work further redefines sound as an embodied and culturally contextualised interactive interface rather than merely musical material. Inspired by the aesthetic context of the film Farewell My Concubine and the vocal language of Chinese Opera, the piece explores the relationship between mouth movement, articulation, and vocal behaviours in opera aesthetics.
Biography
Pingting Xiao is interested in embodied music cognition, interacting with cultural heritage and creative technology to create motion-responsive performances and visual works, and she is dedicated to integrating Chinese traditional culture with music interaction, exploring how ancient cultural elements can be harmonised with modern interactive technologies. She also seeks to inspire and lead a community of like-minded composers in China, encouraging collaboration and participation in creative endeavours.
Jinhui Chen | Future Is the Past
Stereo fixed media
Future Is the Past explores how familiar musical material can be broken apart, transformed and rebuilt into a new sonic environment. The work began with fragments from two original melodic-house tracks, which were granulated and reshaped into unstable textures and rhythmic material. Xiao phrases are combined with inhalation and exhalation samples to recreate the physical cycle of breathing and blowing, allowing the gesture of performance to remain audible inside the electronic texture. Everyday sounds are also reassigned as musical material: bicycle chains become hi-hats, a door-handle transient takes on a snare-like role, knife-sharpening becomes percussion, and a centrifuge recording is transformed into bass. The work moves between recognisable gesture and abstraction, bringing electroacoustic transformation into dialogue with dubstep-influenced production and Chinese instrumental colour.
Biography
Jinhui Chen is a Chinese electroacoustic composer and electronic music producer whose work moves between acousmatic composition, field recording and club-informed electronic music. He studied Composition (Electroacoustic Music & Interactive Media) at the University of Manchester, with a particular interest in transforming everyday sounds into rhythmic and timbral material. Alongside his electroacoustic work, he releases electronic music as Cedate and has released music through an independent Manchester electronic label. His practice often combines recorded gesture, granular processing and contemporary electronic production.
Ruixuan Wang | SUN/reSET
8-channel fixed media
SUN/reSET is an eight-channel fixed-media work based on a sunset video I recorded from an airplane. Visual features such as colour, saturation and luminance were extracted from the video and used as data to control different aspects of the sound.
The data is not used as a strict sonification system, but as a compositional tool to shape synthesis, sound transformation and musical development. The piece moves through three main sound areas, using digital synthesis, sounds recorded from a Hordijk modular synthesiser, granular and spectral processing, and neural timbre transfer.
Through these different processes, the original sunset is gradually transformed from a recorded visual event into data, sound and an eight-channel musical environment.
Biography
Ruixuan Wang is a composer and postgraduate student at the University of Manchester. His work focuses on electronic sound, with a particular interest in synthesizers and spatial listening. He is currently developing electroacoustic pieces that explore sound design, movement, and space.
INTERVAL
Yuen Nung Matthew Ng | Digisusurrus
Stereo audiovisual
Digisusurrus (digi connoting digital, modern; susurrus meaning the soft sounds of nature) is a personal exploration of the Botanica genre and atmospheric composition. The piece was originally composed for my Masters portfolio and follows Ardent Children - an interactive game experience inspired by Wilfred Owen's 1918 anti-war poem Dulce et Decorum Est - while recontextualizing the sonic and thematic material used in the game. Patches of vocals and poetic voice can be heard in this piece, as a remnant of the poetic voice used in the game. Much like how Ardent Children addresses conflict during Owen's time period, Digisusurrus is centered around the sounds of modern conflict; a soldier/civilian is fatally wounded in a field, and as his life slowly ebbs away, music starts to pour into the world. The piece features a variety of compositional styles, from electroacoustic soundscapes, vocal processing and Botanica to rhythmic/harmony-based sections and even orchestral arrangement with hybrid electronic and traditional instrumentation. Through this piece I hope to convey a mixture of feelings - peaceful and relaxing, yet slightly unsettling and melancholic, but colourful nonetheless. (Special thanks to my friend Isobelle McDonald, who very kindly lent me her voice for this project.)
Biography
Matthew Ng is a composer/game developer from Hong Kong, fresh from completing his MusM Composition (EA) Masters degree at The University of Manchester. Having also done his Bachelor degree at UoM, Matt - who was and still is an enthusiastic gamer - got interested in interactive media and game audio. He has since focused on delivering interactive audiovisual experiences via game projects both big and small, and his current electroacoustic composition style is infused with his classical music upbringing, favouring colour and harmony.
Qianrui Hu | Whose Breath
Stereo fixed media
Whose Breath explores the connection between bodily awareness and an uncertain sense of self. Recordings of breathing, heartbeat, whispering and singing create an intimate starting point. The piece moves from a sustained, atmospheric sound world towards more fragmented and abstract textures, asking: "Which one is the real me?" Transformed piano sounds extend this uncertainty, while a recurring doorbell marks transitions between different states of self. Familiar sounds take on unfamiliar qualities, inviting the listener to consider how something recognizable can change while still retaining traces of its original identity.
Biography
Qianrui Hu is a composer working with electroacoustic music and recorded sound. Through her postgraduate work at the University of Manchester, she explores relationships between environmental sound, bodily awareness and listening. Her compositions combine everyday recordings with electronic transformation and spatialisation, often moving between recognisable sources and abstract textures. She is particularly interested in sustained, atmospheric sound and the changing sense of space it can create.
David Berezan | 87
Fixed 8-channel
87 uses sounds that I recorded in the mid to late 1980s, using a Yamaha DX9 keyboard and an analogue cassette tape recorder. These sessions yielded some musical ideas that I soon abandoned, but that I then came to rediscover 35 years later when I composed a series of works exploring my tape archives. The original sounds and music derived from the DX9 are here transformed, re-shaped and composed into work that captures both my creative and technical approaches of the 2020s, as well as some of the essence of my initial lo fi experiments in sound and music making in the 1980s. This is the work's premiere performance.
Biography
David Berezan is Professor of Electroacoustic Music Composition at the University of Manchester. He has been composing acousmatic music for nearly 30 years, and his music is published by empreintes DIGITALes (Montreal, Canada).
