Mittwoch, 18. Juni 2025, 19:00 - 21:00 Uhr
Universität für Musik und darstellende Kunst Wien
Klangtheater @ Future Art Lab
1030 Wien, Anton von Webern-Platz 1
drawing on fragments from bernard parmegiani’s de natura sonorum (1975) and krzysztof penderecki’s de natura sonoris no. 1 (1966), this piece recontextualizes their sonic materials in dialogue with evocative sounds from the natural world - birds, frogs, light rain, melting ice. all elements are shaped live in performance, unfolding through gestures that guide the listener’s attention across shifting textures and spatial layers.
the work explores motion as a central expressive force, revealing subtle connections between organic soundscapes and the historical languages of electroacoustic and orchestral sound. using immersive spatialization, the piece envelops the listener in a moving sound environment, enhancing the sense of presence and transformation.
de natura sui reflects on the self-contained nature of sound - its power to evoke, transform, and carry memory across time and context. quiet, intimate, and at times chaotic, the piece invites an inward, focused listening, heightening awareness of both the internal and external worlds.
Seo Yoon Jang: Die Narbe des Klanges
Sind Gewalt und Wunde wirklich keine Synonyme? Was kommt zuerst? Unsichtbare Gewalt und unsichtbare Wunde. „Es gibt eine Wunde, aber sie ist nicht zu sehen.“ Und die Wunde, die einst unsichtbar war, ist verschwunden – sie ist nicht verschwunden. Eine Berührung, die sich als Klang tarnt, und ein Schmerz, der alles umfasst und zugleich nichts enthält. So repetieren wir was.
Yilin Yang: The Sigh
This is a stream-of-consciousness fixed-media piece. It's an evolving form where the structure of Chinese opera is softened and blurred by the breath of a synthesizer. I draw on the traditional opera form — a percussive prelude before a character appears, and percussion to close the scene. However, unlike the precise and ordered rhythms of classical Chinese opera, the percussion here is unstable and fractured — echoes from disrupted timelines. Alongside these rhythmic disruptions, I weave in the sampled voices of women from various opera tales. Their phrases — disconnected from their original narratives — intertwine with the synthesizer’s sounds, overlapping, interrupting, and reshaping one another. These voices emerge from different times and unrelated stories. And yet, somehow, they gravitate toward the same breath. A sigh — one that carries the weight of something unchangeable.
Biin Jin: NØgrain
Øgrain beschäftigt sich mit der physikalischen Schwingung von Klang – mit den feinen Wellen, die durch die von Streichinstrumenten gespielten Naturharmonischen entstehen. Jeder Ton schwingt leicht, begegnet anderen Tönen und verbindet sich mit dem elektronischen Klang zu einer gemeinsamen Resonanz. Der granulare Synthesizer zerlegt diese Schwingungen in kleine Partikel und setzt sie neu zusammen. So entsteht eine Einheit zwischen Musiker*innen und der Live-Elektronik – ein einziger vibrierender Klangkörper. Øgrain erforscht Töne, die fast nicht hörbar sind, und Wellen, die man erst in der Stille wirklich spürt.
Yongbing Dai: Luck Favors Me
This is an interesting name, because everyone in China has similar beautiful wishes and hopes to realize them. Through this traditional Chinese custom, the ancient Chinese musical instrument Guzheng is associated with this, hoping that everyone's dreams can come true. It is worth mentioning that the four different five-tone series in the work seem to be different aspects of this beautiful wish, dedicated to the innocent dreams in our hearts.
Yilin Yang & Biin Jin Unseen
This sound-based experiment focuses on unseen vibrations and explores how sound propagates through materials, undergoes translation and interacts with perceptual systems. In this piece, audio signals from a synthesizer and microphone are routed into a transducer attached to a thunder sheet, transforming the metal surface into a resonant medium. Sound no longer relies solely on air as its carrier; instead, it travels through the object itself as physical vibration, activating both auditory and tactile perception in space. During the performance, the performer intervenes by placing different materials onto the surfaces of the thunder sheet or microphone, or by physically deforming the metal to disrupt the natural flow of sound. These actions alter the behavior of resonance, destabilize the sonic structure, and activate a dynamic, nonlinear feedback system.
Seo Yoon Jang (b. 1998, Korea) began her musical education in composition at the Sunhwa Arts High School and a semester at Hanyang University. Since 2018 she has been studying composition and electroacoustic composition at the University of Music and Performing Arts Vienna by Dietmar Schermann, Michael Jarrell and Karlheinz Essl. Her pieces have been performed in various venues such as Künstlerhaus Wien, Reaktor, Future Art Lab, Seoul Small Theatre, Concerthaus Daegu etc. in Austria and South Korea, and one of her works has been selected to be performed at the Daegu International Computer Music Festival in South Korea in 2022. She is interested in collaborating with various artistic disciplines such as art and dance, not just music alone, so there have also been performances of works in collaboration with other artistic fields. Her next work is a multimedia piece in collaboration with dance to be performed in Seoul, South Korea in September 2024. She was among the winners of the KlangbildKlang composition competition; her orchestral piece was be premiered on 22 June 2024 at the Wiener Konzerthaus by the Webern Symphonie Orchestra, conducted by Maestro Andrés Orozco-Estrada.
Yilin Yang (b. 1995, China) has been studying electroacoustic composition with Karlheinz Essl at the University of Music and Performing Arts Vienna since 2023. In recent years she has been actively exploring the connections between electroacoustic music, nature and human perception. She thinks that the merging or collision of the tangible and intangible worlds brings her unique new ideas and inspiration. In her works, she often records different sounds (e.g. nature sounds, bodily sounds, instrument sounds, etc.) and integrates them into different modes, which are then tangibly expressed through visual arts. She also focuses on the sensory flow between humans. Using improvisation and various forms of interaction — with or without digital instruments — incorporating sounds and bodily movements — she aims to transcend the boundaries among them.
Biin Jin (b. 1992, Korea) absolvierte Komposition (BA, MA) an der Musik und Kunst Privatuniversität der Stadt Wien bei Wolfgang Liebhart. Derzeit studiert sie Digitale Kunst im Diplomstudium an der Universität für angewandte Kunst Wien bei Ruth Schnell sowie der Künstlergruppe UBERMORGEN (Lizvlx & Luzius Bernhard), sowie Elektroakustische Komposition im Postgradualen Lehrgang an der Universität für Musik und darstellende Kunst Wien (mdw) bei Karlheinz Essl. Zu ihren Ausstellungen in Wien zählen mehrfach u.a. das Angewandte Festival, Parallel Vienna, das Sonic Territories Festival sowie das Angewandte Performance Laboratory.
Yongbing Dai (b. 1985, China) graduated from Music Composition Department of Shanghai Conservatory, under the tutor of Chen Qiangbin. He then continued his study of composition at the Royal Danish Academy of Music and received a master's degree. He is currently studying at the University of Music and Theater Munich and the University of Music and Performing Arts Vienna, under the tutor of Karlheinz Essl. Yongbing's work "The Two Worlds of Monks" won the first prize at the 2022 Xenakis UPI Sketch Electronic Music Competition in France; "FeiDao" was performed by the Shenzhen Symphony Orchestra in March 2023; "Nirvana·Rebirth?" won the silver medal at the 2023 European Student 3D Audio Production Competition held by ORF in Austria. The chamber music work "Tide·Rippling" won the Excellence Award at the 13th Baichuan Composition Competition. His works have been performed in Copenhagen, Amsterdam, Munich, Lisbon, New York, Shanghai, Hangzhou, Shenzhen and other places. His collaborations include the German Recherche Ensemble, the French L'Itinéraire Chamber Orchestra, the Amsterdam Roadrunner Trio, the Shenzhen Symphony Orchestra, the Hunan National Symphony Orchestra and others.
Ming Wang wurde in Taipei, Taiwan, geboren. Nach einem Malereistudium studierte sie die traditionellen chinesischen Zupfinstrumente Guzheng und Pipa an der Chinese Culture University in Taiwan. Ab 1989 setzte sie ihr Studium der Komposition und elektronischen Komposition an der Universität für Musik und darstellende Kunst Wien fort, unter anderem bei Prof. Dieter Kaufmann. Sowohl 1997 als auch 2003 schloss sie ihre Studien jeweils mit einstimmiger Auszeichnung ab.Seit 1989 tritt sie in Europa ständig mit musikalischen Darbietungen auf den chinesischen Zupfinstrumenten Guzheng und Pipa auf und hält musikwissenschaftliche Vorträge. Als Solistin wirkte sie bei zahlreichen Werken renommierter KomponistInnen mit, darunter die Opernaufführungen „Marco Polo“ von Tan, Dun, „Night Banquet“ von Guo, Wenjing, das Solokonzert „Invisible Landscapes for Zheng, Percussion, Piano and Ensemble“ von Chen, Xiaoyong und „Le Livre des Merveilles – Concerto pour Guzheng“ von Tristan Murail (Uraufführung). Zudem war sie bei Solo- und Kammermusikabenden beteiligt, die Uraufführungen europäischer KomponistInnen wie Karlheinz Essl präsentierten.Ihre instrumentalen und elektronischen Kompositionen wurden bei internationalen Festivals wie „Wien Modern“, „Steirischer Herbst“, „Carinthischer Sommer“ und dem „Beijing Modern Music Festival 2013“ aufgeführt. Ming Wang ist seit vielen Jahren als freischaffende Komponistin, Musikpädagogin und Interpretin tätig, sowohl in den Bereichen der traditionellen chinesischen Musik als auch der zeitgenössischen und improvisierten Musik.
Updated: 15 Jun 2025