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- 光復校區大禮堂B1 音樂論壇空間
In this time of increasing maximalism, the temptation to consider music composition, music performance, instrument-making and particularly electronic music instrument-making by piling more and more complexity is strong, thus mirroring society’s tendency.
In music composition and improvisation, this often leads to high density material lacking definition and depth. In electronic music instrument design, this tendency results in poor problem-solving design: rather than solving the problem at its source, one is tempted to 'correct' it through various electronic means, which themselves entail increasing complexity and potential further problems.
This talk and workshop do not advocate aesthetic minimalism, but at least aesthetic and technical sufficiency.
A lecture will present these ideas through the case study of the « Forest of Bamboo » project with sheng player Wu Wei. Participants are warmly welcome to attend to a trio concert (with composer and electronic music performer Julie Zhu at C-Lab on Oct 31).
During the workshop we will experiment with these ideas using acoustic and electric instruments.
Alexis Baskind is a musician, sound engineer and computer music producer. Trained as a sound engineer in the class of Benoit Fabre at the Conservatoire National de Région d'Aubervilliers/la-Courneuve, he has been pursued scientific and technical studies (electrical engineering, signal processing, applied mathematics), and in 1999 joined Ircam, where he conducted research in room acoustics on the topic "Models and Methods of spatial description of sound scenes", obtaining his doctorate in 2003. He has been active since then as a musician, computer musicuan and sound engineer in contemporary music, improvised music, jazz and free jazz. He collaborates with numerous labels and production structures, including IRCAM (Paris), Conservatoire National Supérieur de Musique et de Danse de Paris, Musiques à Ouïr, TPMC (Paris), GMEM (Marseille), Umlaut (Paris/Berlin). He has worked with composers Philippe Leroux, Beat Furrer, Hanspeter Kyburz, Héctor Parra, Pedro Amaral, François Paris, Philippe Hurel, Vladimir Tarnopolsky, Alexandros Markéas, Fabián Panisello, Turgut Erçetin, Rebecca Saunders and stage director Jean-François Peyret, on studio productions and creations for dance, theater and music. He has performed with soloists Juliet Fraser, Pascal Contet, Uli Fussenegger, Wu Wei, Anil Eraslan, Denis Charolles, Christelle Sery, Benny Sluchin and ensembles such as Accroche Note, Bit20, Ictus, 2e2m, Court-Circuit, Ensemble Intercontemporain, Percussions de Strasbourg, Neue Vocalsolisten Stuttgart, American Composers Orchestra. In parallel, he regularly collaborates on artistic and technical projects requiring the development of specific sound processing and design solutions, and interfacing with gesture capture technologies. He is former professor in Theory and Practice of Sound Engineering in the Hochschule der populären Künste FH (Berlin) and lecturer at the Hochschule für Musik Detmold as well as the Escuela Superior de Música Reina Sofía (Madrid, Spain), and is been also regularly giving courses in sound engineering and computer music in music schools, universities and training institutes for music production. He participates in several international festivals such as Warsaw Autumn, Manifeste (Paris), Holland Festival, Agora (Paris), Festival d'Automne (Paris), Bregenzer Festspiele, Münchener Biennale, Maerzmusik (Berlin), Printemps des Arts (Monaco), Musica (Strasbourg), Tage für Neue Musik festival (Zurich), Ultima Festival (Oslo), FARaway (Reims), Propagations (Nice).