Concert

He studied at the Graduate School of Tokyo College of Music with a scholarship.
He was selected for the Tokyo College of Music Competition, and won the 28th Ichikawa City RookiePerformer Competition String Instrument Category Grand Prize. Participated in Project Q Chapter 10. In2018, he appeared in the 3rd Nao Isaji Solo Exhibition ~Nanban Theater~ and won the 18th Keizo SajiPrize.
He has also been involved in many premiere performances of new works by young composers, and isenergetically active, such as serving as a soloist at the Akutagawa Composition Award Selection Concertat the Suntory Summer Festival.
Currently, in addition to serving as the concertmaster at Orchestra Pitoreza, he is also a lecturer atMachida Kodai Conservatory, WE LOVE MUSIC, and Kanagawa Prefectural Sagamihara Yaei HighSchool.

She graduated at Kunitachi College of Music, majoring in keyboard instruments (piano), and completed amaster's course in accompaniment at the same graduate school.
She won first place in the 17th Japan Performer's Competition college student piano section. At the sametime she received the Yokohama Mayor's Award and the Yomiuri Shimbun Award. She won the 3rd prizein the 1st K Piano Solo Competition. She is a finalist of the contemporary music performance competition“Kyoraku XIV”.
She has studied piano with Yoko Endo, Yukari Miyashita, Kazue Nakamura, Kayo Miki, and compositionand composition theory with Hiroshi Yamaguchi, Takazusa Fujii, and Hiroko Imamura.
She is active as a freelancer, focusing on solo, chamber music, and instrumental accompaniment. Shebelongs to the contemporary music pianist group "Piano Atelier".

Hyun-Mook Lim is a pianist and performance artist who mainly plays contemporary music. Since shebegan playing contemporary music, she has collaborated with numerous composers and has premiered,performed, or dedicated his works. Currently residing in Tokyo, she works mainly in both Korea andJapan, and has recently continued her performance activities with a focus on expanding her performance experience with fixed/live electronics and works for piano.

This work is an interactive live electronics work using a VR headset.
The VR headset presents the performer's specific actions and movement timing by expressing textinformation and objects in the virtual environment, and synthesizes music based on the performer's actualmovements.
Regarding the concept, in the process of rapid development of social networks, individuals participatingin social networks have the ability to freely evaluate other individuals.
Along with that, the presence of an "opinion leader" appears. Due to the existence of the "opinion leader",some individuals are blindly obeyed, and some individuals are influenced and feared, resulting incollective silence. such as showingA contradiction appears regarding the loss of self-disclosure. This work focuses on this phenomenon.

Can Li

Born in Jiangsu, China. Since 2018, he has been enrolled in the Goto Laboratory of the Department ofMusic and Sound Creation, Tokyo University of the Arts. He focuses on interface design using sensorsand IoT, as well as interactive music installations and performances.

The theme of this piece is decomposition and synthesis of sound. The sounds played by two musicians, aviolinist and an electronic musician, are picked up by a microphone, and the sounds are output frommultiple speakers through a process of acoustic resynthesis by a computer. The player (human) attemptsto play through an iterative, recursive process, but the final sound output is selected and determined bythe computer to produce a musical flow that is similar or different to the player's desired flow . Theplayer's performance is one of the expressive elements that make up the piece, but it also sounds like acompletely different expression. The time structure of the song is determined in the composition process,but the macro part is determined and played by the computer each time.

Hideaki Isobe

Born in Yamanashi in 1982. Composer, media artist. He studied composition, sound technology, andcomputer music under Takeshi Tsuchiya. In addition to his computer-based compositional activities, healso operates the electronic works of various other composers. His own major works have been performedin Japan, Holland, Germany and South Korea. In addition, he researches and develops electronic musicalinstruments that use sensors, as well as performance aids. In collaboration with various composers andmusicians, he has developed the "isobe rail" and other products, such as the "Videolon" developed withcomposer Kazutomo Yamamoto, the "hosiya board" developed with Takeo Hoshiya, and the tromboneplayer Murata. There is also the "murata sensor" for the trombone developed with Kosei. Sponsored byElectroacoustic Music Concert Maximum. He is a part-time lecturer at Tokyo College of Music.

This composition is an auditory contemplation of a world that has recently changed beyond recognition, focusing on identity and the search for new meanings and a new sense of self. In music, this means that the instrument no longer belongs to itself and cannot be itself in any sense.
“Whisperscapes” continues the composer's quest for the synergy of algorithmic and empirical methods of creating music. The original material is created empirically, and then an algorithm is developed to recreate the same material based on rules using the Bach library in the Max environment. Electronic objects are made using Arduino, and their application is also regulated by a general rule that operates for the entire composition.

Leonid Zvolinsky

Leonid Zvolinsky is a composer and sound artist currently based in Tokyo, Japan. He holds a degree incomposition from the Moscow Conservatory, as well as degrees in music theory from Gnessins MusicalCollege and sound engineering from the GITR Film & Television School in Moscow. Currently, he ispursuing a master’s degree in the Department of Musical Creativity and Environment at Tokyo Universityof the Arts, where he studies under the supervision of Suguru Goto and conducts research.
His works encompass electro-acoustic compositions and performances, various orchestral pieces, as wellas solo and ensemble performances. Leonid employs Max, Arduino, and various algorithms and systemsto explore the intersection of technology and sound. His research focuses on exploring the use of specificcharacteristics of hearing, such as sound illusions, in the creation of works of art.

À petits pas is a pedagogical mixed music piece, combining the possibilities of piano timbres with thedynamic versatility of electronic sound processing. With a total length of 6 minutes, the piece is designedto get young performers used to the cluster technique. It was first performed in 2016, but was revised forthis concert.In this composition, the piano explores and demonstrates the potential of clusters as musical blocks. Theelectronic part, on the other hand, serves as an immersive and interactive accompaniment, responding toand augmenting the piano performance in real-time.The electronic sounds are carefully distributed through the quadriphonic sound system, enveloping theaudience in a rich sonic environment that further enhances the experience of the piece. Realtime soundprocessing is employed, creating a dynamic counterpoint between the piano and the digitally processedsounds.

Nicolas BROCHEC

Nicolas Brochec is a French composer and software developer. He is currently a PhD student in theDepartment of Music and Sound Creation at Tokyo University of the Arts. His works have beenperformed at the Philharmonie de Paris (FR), as well as in Spain, Austria and elsewhere in Europe. He isoften inspired by pictures and aims to create works that combine noise and pitch. His current researchfocuses on automatic instrument playing techniques recognition and dynamic sound processing in mixedmusic. His music works have been published by the music publisher Notes en Bulles.
nicolasbrochec.com

“Imagination” is a primitive urge to explore the unknown sensory world, while music, as an abstractthing, probably has the most primitive features among them. However, in a “traditional” opinion, musicusually depends on the temporal structure, and which is that structure guides listeners to understand thepiece. But imagination is different. Depending on what we thought, what we heard, and even what wehave seen, we could draw virtual landscapes or build enormous tales within our mind. 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 whalesinking into the deep ocean, and all the landscapes are floating around. Ocean currents, fish flocks, milkyway, flickering light and shadows and floating sounds resonate with its huge body. Producingreverberation and echo, it drifts away.

Haolun Gu

A native of Soochow, China.GU is a composer and pianist, received his Bachelor’s degree from Shanghai Conservatory of Music in2017, and completed his Master degree in Tokyo University of the Arts in 2020. Now he is a PhD studentin Tokyo University of the Arts. He has been awarded scholarship by the Japanese Ministry of Education,Culture, Sports, Science and Technology (MEXT) from 2021.
He received the 1 st  Prize at the 3 rd  Shanghai International Electronic Music Competition (IEMC) inShanghai. His works have been commissioned and selected by The Centennial of the Electronic MusicalInstruments at National Museum of Nature and Science (Tokyo), Future-Tradition New MediaMasterclass Series (Shanghai), EMW (Shanghai), NYCEMF (New York), ICMC (Santiago de Chile) aswell as Ensemble H[akka] 20 th  anniversary concert “Hiroshima and music” (Hiroshima), and gotcommission from the 7 th  Ryokoku Art Festival.
He has studied composition with Yi Qin, Mingwu Yin, Qiangbin Chen, Eric Arnal, Tatsuhiko Nishioka,and Suguru Goto.

Section 1. Microtonal – Introduction (1:05)
Section 2. Microtonal 2 – Etude (3:08)
Section 3. Microtonal 3 – Glissando (1:56)
Section 4. Glissando 2 – Etude (2:00)
Section 5. Cell Division Algorithm – Etude (2:03)
Section 6. Ascending Morphing – Etude (3:00)
Section 7. Fast Repeated Notes – Etude (1:34)

This piece was inspired by Ligeti’s Piano Etudes (official name: Études pour piano).
The title, Collidepiano, is a coined word that combines Collide and Piano, and is a strategy in which ahuman pianist and a computer literally collide each other.
In this work, it was constructed with algorithmic composition by Bach library in Max.
The work is a suite, with each section built on one clear idea. The concept of each section is as follows:

• Section 1. Microtonal – Introduction (1:05)
  Rather than being a piece of music, it is an introductory part for accustoming the ear so that it becomes easier to distinguish microtones.
• Section 2. Microtonal 2 – Etude (3:08)
  The piece using microtones starts here in a real sense. An etude in which three voices are superimposed: one-eighth microtone, one-fourth microtone and normal tone.
• Section 3. Microtonal 3 – Glissando (1:56)
  This pursues glissando using microtones. It aims for a Shepard Tone-like effect.
• Section 4. Glissando 2 – Etude (2:00)
  A work that attempts glissando without using microtones. It is conceived to be as Etude of the second version of Section 3.
• Section 5. Cell Division Algorithm – Etude (2:03)
  As the title suggests, this work was created using a cell division algorithm. It could be considered to be a work composed by an algorithm rather than a composer’s intention.
• Section 6. Ascending Morphing – Etude (3:00)
  A piece that gradually changes throughout the piece, from one pattern to another.
• Section 7. Fast Repeat – Etude (1:34)
  It expresses a frenzied expression by playing the piano fast beyond the limit.

後藤 英

作曲家、ニューメディア・アーティスト。国際的に評価されており世界活地で活躍。刺激的 な作品で新たなテクノロジーと関連させて発表している。フランス、パリにあるポンピドゥ ー・センターのIRCAMの招待作曲家、研究員、ボルドー芸術大学の准教授を経て、現在は東京 芸術大学の准教授。 　主な賞歴は、ボストン・シンフォニー・オーケストラ・フェローシップ、タングルウッド音 楽祭より、クーセヴィツキー賞、ワシントン州のマルゼナ国際作曲コンペティションにて第１ 位、ドイツにてベルリナー・コンポジション・アウフトラーゲ1994、パリのユネスコで行われ た、IMC国際作曲家会議にて入選、フランス政府よりDICREAM、ドイツ、ベルリンのミュージ ック・シアター・ナウ・アワード2008にて受賞、フランス、バン・ニューメリック4、アンガ ン・デ・バン・デジタル・アート国際フェスティバルにて、「OFQJダンス・ニューテクノロ ジー賞」を受賞、2010年ブラジルのFileフェスティバルにてFILE PRIX LUXのElectronic Sonority Honor Award 賞、2011年イタリアにてAction Sharing 2の大賞を受賞、2013年KAO国 際キネティック・アート・コンペティションにて第2位、同年オーストリアのアルスエレクト ニカにてデジタル・ミュージック&サウンド・アートの栄誉賞を受賞などが挙げられる。作品 は世界各国の音楽祭、レゾナンス/IRCAM、タングルウッド音楽祭、ICC、SONAR、 Haus der Kultures der Welt, ISEA、NIME, ヴェネツィアビエンナーレなどにて演奏されている。
http://gotolab.geidai.ac.jp/