EMS17 Concerts decorative dots    

EMS17 Welcome Concert 1   September 6. 2017, 19:00-

EMS17 Welcome Concert 2   September 7. 2017, 19:00-

EMS17 Welcome Concert 1

September 6. 2017, 19:00-
Nagoya City University, School of Design and Architecture, Large Hall

Concert 1

Presented by   Japanese Society of Sonic Arts



1.   Daichi ANDO / 安藤 大地
Thimbletail, for Alto Saxophone and Electro-Acoustic (premiere)
Composition & Alto Saxophone: Daichi ANDO / 安藤 大地


2.   Yuriko Hase KOJIMA / 小島 有利子
String of Sound (premiere)


3.   Naotoshi OSAKA / 小坂 直敏
Present-Day Jakuchu Series:
Butterfly Pictures “Great Purple Emperor”
 for violin and electroacoustics (premiere (revised))
Violin: Saori NAKAZAWA / 中澤 沙央里


4.   Takeyoshi MORI / 森 威功
Misty Graffiti for Visual Music
(2017, premiere)


 5.   Mikako MIZUNO / 水野 みか子
In the early morning of July 31,
 for koto and electronics (premiere (revised))

Koto: Yuko NOMURA / 野村 祐子

JSSA was founded in 2009 as an scientific society aiming at advanced creation of sonic arts. Every three months it features scientific meetings, concerts, and other communication programs.   http://jssa.info/

Daichi ANDO / 安藤 大地

Thimbletail, for Alto Saxophone and Electro-Acoustic (premiere)

Composition & Alto Saxophone: Daichi ANDO

Timbletail is an attempt work that applying Compositional Pattern Producing Network(CPPN) into both compositional required technique, to generate electro-acoustic sounds and to generate melody-lines. CPPN is a kind of Recurrent Neural-Network, adopting periodic functions instead of activation functions in ordinary to use for Neural-Networks.

The title of this work, “Thimbletail” means envelope image of the electro-acoustic sounds and musical articulation of the human performance in this work. Differences of actual envelope between syntheses sounds and human performed sounds, indeed appear if composers or a performers have expectations.



Ph.D., is a musical composer and researcher of Artificial Intelligence field, especially Evolutionary Computation. He studied composition and computer music under Takayuki Rai and Cort Rippe at the Kunitachi College of Music, Japan, under Palle Dahlstedt at the Chalmers University of Technology, Sweden, currently he teaches and conduct researches in Div. of Industrial Art, Tokyo Metropolitan University.

He is interesting in applying Interactive Evolutionary Computing into musical composition. Currently he is working about computer-aided improvisation of traditional musical instruments, making models of computation for the improvisation, then make then make a evolutional optimization system for the models.

Yuriko Hase KOJIMA / 小島 有利子

String of Sound (premiere)

“String of Sound” has become my second music concrète piece. More than twenty years has already passed since the first one called “Reminiscence” that I finished in 1996 at the Computer Music Center, Columbia University. In “String of Sound” I mainly used recorded sounds of the violin played by my sixteen-year-old daughter who has been studying at a music high school in Tokyo. Watching her lessons and practicing everyday , I have been familiarized very closely with regular violin repertoires and various traditional techniques of the instrument. I have been fascinated by subtle changes of the sound colors that only trained string players can produce after many years of training of regular techniques, which sometimes contemporary composers have ignored and left behind under exploration of extended techniques to produce noise-oriented sounds. Rediscovering the value of pure regular sounds of the violin, I wanted to experiment how much I could go into and expand the perspectives of the tradition, creating a musical portrait of a violinist who has just obtained refined sound of the instrument and has embarked on a journey of professional musical life.


Born in Japan in 1962. Completing her studies in piano in Japan, Yuriko Hase Kojima studied composition in the United States for ten years, and got DMA from Columbia University in 2000. She studied composition, theory, aesthetics and philosophy, with Tristan Murail, Jonathan Kramer, Fred Lerdahl, Brad Garton, and Lydia Goer, among others. Her works have been presented at the international festivals including the ISCM, the ICMC, and the IAWM, performed by the Ensemble Modern, the Pearls Before Swine Experience, the Azure Ensemble, and the New York New Music Ensemble, to name a few. Currently, Ms. Kojima serves as Professor of Composition at Shobi University, specializing in composition, music theory, and electroacoustic music. Along with her career as a composer, she conducts researches in musicological studies. She is also active as the founder and the artistic director of a non-profit organization Glovill (www.glovill.jp) aimed to introduce new music to Japan.


Naotoshi OSAKA / 小坂 直敏

Present-Day Jakuchu Series: Butterfly Pictures “Great Purple Emperor”,

for violin and electroacoustics (premiere (revised))

Violin: Saori NAKAZAWA

This piece from the composer’s Butterfly Pictures series. Jakuchu Ito is a Japanese painter from the mid-Edo period (1716-1800) whose works are known as the "Pictures of the Colorful Realm of Living Beings" which depict birds and flowers. The composer, inspired by Jakuchu, is producing a series of pieces of various butterfly species, with the intent of finding the "colorful realm" in them.

The ‘Great Purple Emperor’ is a symbolic Japanese butterfly that is very large, and primarily yellow and purple. Besides these colors and its size, its flying style is very noble. The species glides higher than ten meters above the ground among nettle trees. This piece tries to express these noble qualities of the butterfly.

The technical implementation employs real-time effects such as a harmonizer and granular synthesis with live violin. As an accompaniment, FM synthesis is used as a central sound source with ‘sound by sound’ effects, which are sounds expressed via other instruments, newly developed by the composer.



Naotoshi Osaka is a composer and acoustics researcher. He received an M.S. degree in electrical engineering from Waseda University in 1978. He worked at the Electrical Communication Laboratories, NTT, Tokyo, Japan, from 1978 to 2003. He received a Doctor of Engineering in 1994. His main research interest is timbre synthesis for both sound and speech. Since 1990 he has focused mainly on composing computer music and related sound synthesis technologies. His representative works include “Sound textile” for piano and computer (’98), “Shizuku no kuzushi” for violin, computer and orchestra (’99), and “Kibi Takibi …” for computer and orchestra. He joined the ICMC 1993 and ICMC 2003. Besides composition, he has also organized computer music concerts, such as the NTT Computer Music Symposium I (1997) and II (2001). From 1996 to March 2003, he led a computer music research group at NTT Communication Science Laboratories in Atsugi, Kanagawa. He is presently a professor at Tokyo Denki University. He is a member of the ASJ, IEICE, IPSJ, ICMA and IEEE. He is currently a president of the JSSA (Japanese Society of Sonic Arts) after serving as the ICMA (International Computer Music Association) Asia/Oceania Regional Director.


Saori Nakazawa / 中澤 沙央里 (violin)

Saori Nakazawa studied at the Toho Gakuen music high school and college. She won prizes in the Student Music Concours of Japan, the Japan-Austria Cultural Association's audition. She is actively performing and premiering new music. She has been invited to perform at international music festivals such as Sound Bridge Festival (Malaysia), Tongyeong International Music Festival(Korea), China-ASEAN Music Week (China), Suntory Summer Festival (Japan), and New Vision Arts Festival(Hong Kong). Saori Nakazawa was selected as Tokyo Wonder Site's artist-in-residence in 2013. She is a member of Japan Finland Contemporary Music Society.

Takeyoshi MORI / 森 威功

Misty Graffiti for Visual Music (2017, Premiere)

By observing water vapor made from a chunk of dry ice, there can be found the numerous patterns and complex movements of it. This work attempts transforming the video data into various abstract images as if to emerge in fog one after another. It also seems these images are partly enlarged fragments of paintings in Chinese ink in terms of the intensity and gradation of color drawn by the delicate techniques with paintbrushes. Main sound sources for this piece are the recordings of various kinds of bowed sounds, which are associated with the sounds of drawing, and for sound synthesis and processing, Max 7and SPEAR were used as well.


Takeyoshi Mori is a composer, programmer, and educator whose works have been performed at Musica Viva 2007 in Portugal, ICMC 2008 in Belfast, DengakuIII in Tokyo, NYCEMF 2009, 101Tokyo in Iceland, ICMC 2012 in Ljubljana, Taiwan Sonic Arts Festival 2015, and Asia Computer Music Project 2016 in Tokyo.

He studied composition and sound programming in Japan and moved to New York in 2000 for his master’s degree in Music Technology at New York University, where he studied with Robert Rowe, Joel Chadabe, and Nick Didkovsky. His recent activities have ranged from composing electroacoustic music to organizing lecture classes and exchange concerts in East Asian countries.

He is Associate Professor at Music Design Course at Senzoku Gakuen College of Music, an adjunct lecturer at Tokyo University of the Arts, International Computer Music Association (ICMA) Asia/Oceania Regional Director, and the Vice- President of Japanese Society for Electronic Music. He has been involved in Japanese Society for Sonic Arts and Asia Computer Music Project as a board member.



Mikako MIZUNO / 水野 みか子

In the early morning of July 31

for koto and electronics (Premiere (revised))

Koto: Yuko NOMURA

After the rainy season, the air has been gleaming with the shiny sunlight. Heavy rain last night, glimmering tree drops this morning. It’s the end of July. Here in the center of Japan, there will be an enjoyable fest of summer. Unexpected climate change often happens. The sun is suddenly hidden behind the cloud, the birds fly away into the quiet dawn. Such an abruptness leads me to melancholic meditation.

The koto sounds run faster in the humid season, especially in the open air or in a Japanese style garden. Koto’ s Surizume makes a quiet but very tense sound and leads to an emptiness, where we hear no sound but see so clear sight of our own inner space.  Chirashizume makes sound or no-sound of kasokeki, which snuggles up to the wind and the wave. The electronic part pursues the environmental sounds and winds through interaction with koto performance.

This is the third version of the piece which is dedicated to the marvelous koto player Yuko Nomura.



Mikako Mizuno got Dr. of Engineering concerning the theme <Space Concept in the Contemporary Music> after graduating from Tokyo University(aesthetics) and Aichi Prefectural College of Arts and Music. The pieces were /will be performed in France(Bourges, Paris) Austria(Salzburg), Hungary(Budapest), Germany(GEDOK), Italy(International Music Festival in Venice, Alba Music Festival)  Republic of Moldova(Ars Poetica), ISEA2000 and 2002, ISCM2003 and 2010, Musicacoustica2010 (Beijing), ACMP2011, 2012, 2013, 2016 , WOCMAT2013, ICMC2017 and in several cities in Japan.  Suntory Saji-Keizo prize for the NinpheArt vol.10 concert (2014). Japan premiers include the concerts of : GEN-ON, JFC, JSEM. Orchestral works were premiered by Tokyo Philharmonic Orch., Central Aichi Symphonic Orch., Aichi Symphonietta and so on.

Writings were published including The History of Japanese Contemporary Music After WW(2006),  Space Concept in the Contemporary Compositions (2001) , and so on.

President of JSEM, Committee member of JSSA. Professor of Nagoya City University,  Program Director of Aichi Triennale2010,2016,2019, General Director of Nagoya City University Sound Studio, Board member of Nagoya Philharmonic Orchestra.


Yuko Nomura / 野村 祐子 (Koto)

Yuko Nomura had her first stage performance when she was three years old. She has composed more than 90 pieces since the time when she was fourteen. She has had a lot of concerts, recitals, joint-concerts with Hozan Nomura(shakuhachi), the regular concerts of Seigensha. She had many experiences of playing with orchestra or the players of European instrumentalists as well as playing on the broadcasting. She won the prizes like the Emeritus prize of Nagoya City Art Festival, Art Award of Nagoya City, etc. She is now the General Schoolmaster of Seigensha.


EMS17 Welcome Concert 2

September 7. 2017, 19:00-
Nagoya City University, School of Design and Architecture, Large Hall

Concert 2
Presented by   Japanese Society for Electronic Music*

1.   Yoshihisa SUZUKI / 鈴木 悦久
GRAIN (2017)

2.   Ai WATANABE / 渡辺 愛
esquisse 2017

3.   Alexander SIGMAN / アレックス シグマン
detritus II

4.    Kyohei HAYASHI / 林 恭平

5.    Asako MIYAKI / 宮木 朝子
Hidden Garden (2017)

* JSEM was established in 1992 for the purpose of extending the early visions of electronic music into the 21st century and it has been actively involved in international projects by composers, researchers and engineers ever since. http://jsem.sakura.ne.jp

Yoshihisa SUZUKI / 鈴木 悦久

GRAIN (2017)

This work is an acoustic work using an electromyogram sensor as an interface. Synthesize the movement of muscle movement by performance and waveform.



Yoshihisa Suzuki, a percussionist, and composer, was born in Yokohama, Japan in 1975. He studied percussion instrument was majored at Showa university of music (1994-1998) and is studying composition at Institute of Advanced Media Art and Sciences (IAMAS, 2002-2005). His works "sein and zeit #2 (collaborated with Masayuki AKAMATSU, ISEA 2004)", He works percussion performance and the sound programming. His major works include "Ring, Quartet (2003)" "Chromatist (2004)", "Suite for Disklavier (2008) " and " Marimba Pleasure (2008) ". He received the ARS Electronica (Linz, Austria) 2006 digital music Honorary Mention (Mimiz).

He is member of Japanese Society of Electronic Music (JSEM) and Japanese Society for Sonic Arts (JSSA).

Ai WATANABE / 渡辺 愛

esquisse 2017

I have inherit Luc Ferrari's challenge to "Genetically Modified Archives".The challenge to revise understanding archives recorded in various time and places, then used in various scenarios. To do so, we become able to rediscover materials in the past.



Graduated at Tokyo College of Music.
Completed Ecriture Course and Electroacoustic Composition Course at CRR de Paris (The Regional Conservatory of Paris).
Received PhD for research of Luc Ferrari at Tokyo University of The Arts.
Performed at several music festival such as FAF, ACANTHES, FUTURA, NIT, UNYAZI, Ensembles Asia, etc.
France Musique radio have broadcast some of works.
Won The 1st Principal Award at Tokyo College of Music (Japan),
Selected at CCMC (Japan),
Won JAPAN2011 (organized by TEM) Prize (Italy),
Semi-Finalist at Pierre Schaeffer Award (France),
Selected at The 3rd Presque Rien Award (France), etc.
Researcher of Tokyo University of The Arts.
Lecturer at Shobi University and Showa University of Music.
Member of Japanese Society for Electronic Music.
Member of Japanese Society for Sonic Arts.


Alexander SIGMAN / アレックス シグマン

detritus II

detritus II (2009) was realized in collaboration with New York-based filmmaker/video artist Colin Elliott. As the final installment in Nominal/Noumenal, two interlocking cycles of works for soloists, chamber ensembles, electronics, and video, the piece was intended as a drawn-out act of “pulling the plug” on the cycles. The audio ingests instrumental samples derived from several Nominal/Noumenal pieces, as well as both fragments of French proto-surrealist writer Lautréamont's Les Chants de Maldoror that figure prominently detritus I, the immediately preceding composition for countertenor, ensemble, electronics, and video, and expressive indications found in the score to detritus I. By the same token, segments of the violent and sensual Lautréamont text are manipulated in the visuals, whose raw, grainy, and distorted qualities reflect the anti-digital nature of the electronics. The materials employed in both the visual and auditory domains range from the highly abstract (color fields in the video, noise-bands in the audio) to the highly iconic (landscapes and machine images in the video, urban/industrial environmental sources in the audio).


Alexander Sigman’s award-winning instrumental, electroacoustic, and interdisciplinary works have been featured on major international festivals, exhibitions, institutions, and venues across Europe, Asia, Australia, and North America. He has been selected for artist residencies at the Akademie Schloss Solitude (Stuttgart, Germany), the Djerassi Foundation, the Paul Dresher Ensemble Artists Residency Center, and Gullkistan, Center for Creativity (Iceland). In 2013-2014, he undertook a musical research residency at IRCAM.


Nominal/Noumenal, Sigman’s first portrait recording, was released on Carrier Records (NY) in 2012. His violin and electronics piece VURTRUVURT was included on violinist/violist Miranda Cuckson's solo CD Melting the Darkness, released in 2014 on the Urlicht Audiovisual label. In November 2017, fcremap, an audiovisual compendium, will be released on New Focus Recordings. will be Also active as a researcher, Sigman’s academic writing has been widely published in peer-reviewed books, journals, and conference proceedings.


Current projects include Minotaur, an intermedia performance installation for dance, video, live painting, and audio, realized in collaboration with choreographer Erika Tsimbrovsky and alarm/will/sound, a series of modified car alarm systems designed in conjunction with London/Berlin-based product designer Matthias Megyeri. Recently, Sigman has received commissions from Nordic Affect (Reykjavik), Fonema Consort (Chicago), Discord Workshop (Belgium), Ensemble Modelo62 (Netherlands), Duo Harpverk (Rekjavik), guitarists Nico Couck and Jordan Dodson, percussionist Eric Derr, and pianist Frederick Croene, among others.


Sigman completed his doctorate in Music Composition at Stanford University in 2010. Further postgraduate studies were undertaken at the University for Music and the Performing Arts Vienna, as well as the Institute for Sonology of the Royal Conservatory in The Hague (Netherlands). He is currently Associate Professor and Chair of the Music program at the International College of Liberal Arts (iCLA) of Yamanashi Gakuin University in Kofu, Japan.


More information here: www.lxsigman.com

Kyohei HAYASHI / 林 恭平


Electroacoustic music video IKEBANA works.

Sounds of flower life, flower sound.


Born in 1984 in Fukui, Japan.Kyohei Hayashi is sound artist, cartoonist and thinker. He studied with Hiroshi Nanatuya, Kazuo Uehara, Tomonari Higaki at the University of Art in Osaka.Created a sound piece based on the literature of Japan.Work is staged in the world, it has earned a high reputation.2014, Japan's National Museum of Art, in Osaka, held a concert of Electroacoustic music. Prix Russolo 2015 (France) Grand Prix Russolo 2015 ,1st Luigi Russolo Award Final judge of Prix russolo 2016.

Japan Society for Electronic Music Full Member
Japanese Society for Sonic Arts Full Member
Association franco-japonaise de la Musique Contemporaine Member


Asako MIYAKI / 宮木 朝子

Hidden Garden (2017)

Hidden Garden is a joint work with video artist Fusako Baba living in Sapporo.The present work was originally created as a piece of audiovisual work and premiered at Jena FullDome Festival 2017(JENA, Germany) as selected work.This work to be performed today is its another version. Sound materials of this work are sounds of sho, water, human voice etc.All sound materials were recorded by composer, and edited by using some softwares.

-Outline of the work-

There is a garden created with light and sound. It exists in human consciousness. Occasionally flowers of afterimage quietly bloom. For a while, we drift in an absent garden.


Asako Miyaki is a composer, who studied at Toho Gakuen College of Music and its graduate school. Currently she is enrolled in the Department of Interdisciplinary Cultural Studies, Graduate School of Arts and Sciences,The University of Tokyo. She is a lecturer of Senzoku Gakuen College of Music (sound design,computer music) and Waseda University school of Creative Science and Engineering (media art).She develops musical production from the relationship with the overlapping place of memory of anonymity. It is, for example, the activity of sound installation in the sacred place of Amami Oshima. The album Virtual Resonance(2009) is said to be "the sound image of brilliant sounding sound (CD journal)", “this album is a kind of gagaku ,electronica, and contemporary music, and intersects the cosmic level (Beams Records).”recent works :The Flower of Afterimage(Audio-visual Installation work collaborated with Fusako Baba, JENA Fulldome Festival 2015 Blaue Blume Award, selected work of ICMC2016, SAT FEST 2016)

CD:Drifting Towards the East (2005, MA RECORDINGS /MAG501,compilation ) / Nouvelles musiques concrètes vol.2 (2005, ACSM116-NMC-002,compilation) /Virtual Resonance-sound image for 4D2U(2009,Te Pito records /tepito-001)

Fusako Baba / 馬場ふさこ (video)

From 2002, her works have been mainly announced on her website.

Then she started to produce DVDs, such as CG for TV programs, TV messages & etc. In 2009, producing the planetarium programs triggered, the creation of Full Dome works are the center of her works.

In2015, The Flower of Afterimage, the collaborative work of music and images with sound artist Asako Miyaki was selected at Jena FullDome Festival 2015 and won its Blaue Blume Award.It was performed in Austria,Switzerland & other places.