{"id":284,"date":"2018-05-11T23:10:00","date_gmt":"2018-05-11T22:10:00","guid":{"rendered":"http:\/\/cosmos.ircam.fr\/?p=284"},"modified":"2020-09-07T14:47:32","modified_gmt":"2020-09-07T13:47:32","slug":"arrhythmia-suite-world-premiere-stanford-ccrma","status":"publish","type":"post","link":"https:\/\/cosmos.isd.kcl.ac.uk\/?p=284","title":{"rendered":"Arrhythmia Suite world premi\u00e8re @ Stanford CCRMA Music and the Brain Symposium"},"content":{"rendered":"\n<p><strong>Livestream from CCRMA<\/strong>&nbsp;recorded by Dave Kerr.&nbsp;Video shows the&nbsp;<em>Transformations<\/em>&nbsp;concert at the&nbsp;<a href=\"https:\/\/ccrma.stanford.edu\/groups\/meri\/symposium.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Music and the Brain Symposium<\/a>&nbsp;organized by Jonathan Berger, Noah Fram, Blair Kaneshiro, Zhengshan Shi, and Nette Worthey at Stanford University&#8217;s Center for Computer Research in Music and Acoustics (CCRMA). To hear specific pieces, click on links given below.&nbsp; Program notes for new pieces are reproduced beneath the program.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Music and the Brain Symposium 2018 - Day 1\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/MZDYwidEQag?start=9340&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>Music and the Brain Symposium 2018: Concert: Tranformations: Elaine Chew, piano<\/figcaption><\/figure>\n\n\n\n<p>8PM, May 11, 2018<\/p>\n\n\n\n<p>Music and the Brain Symposium<\/p>\n\n\n\n<p>CCRMA (the Knoll) | 660 Lomita Drive, Stanford, CA<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"chew-concert\">Transformations<br>Elaine Chew \u2014 Piano<\/h2>\n\n\n\n<figure class=\"wp-block-table is-style-stripes\"><table class=\"has-subtle-pale-green-background-color has-background\"><tbody><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=2h36m30s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Sonata in E-flat, Hob XVI:45, Finale<\/a><\/em><\/td><td>Franz Josef Haydn<\/td><\/tr><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=2h40m35s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Stolen Rhythm<\/a><\/em>&nbsp;(2009)<\/td><td>Cheryl Frances-Hoad\/Franz Josef Haydn<\/td><\/tr><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=2h44m13s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Practicing Haydn<\/a><\/em>&nbsp;(2013)<\/td><td>Elaine Chew, Peter Child, Lina Viste Gr\u00f8nli<\/td><\/tr><tr><td><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=2h51m41s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"><em>Intermezzo<\/em>&nbsp;\u2014 for Pedja<\/a>&nbsp;(2015)<\/td><td>Jonathan Berger<\/td><\/tr><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=2h58m8s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Three morphed pieces from J.S. Bach<\/a>&#8216;s &#8220;A Little Notebook for Anna Magdalena&#8221;<\/em>&nbsp;(2016)Minuet in G \u2013 March in D \u2013 Bist du bei mir<\/td><td>Dorien Herremans, Elaine Chew <br><em>US premi\u00e8re<\/em><\/td><\/tr><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=3h2m34s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Three morphed pieces from Kabalevsky<\/a>&#8216;s &#8220;30 and 24 Pieces for Children&#8221;<\/em>&nbsp;(2016)Clowns \u2013 Toccatina \u2013 Etude No. 3 in A minor<\/td><td>Dorien Herremans, Elaine Chew<br><em>US premi\u00e8re<\/em><\/td><\/tr><tr><td><em>Arrythmia Suite<\/em>&nbsp;(2017-2018)*<a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=3h7m7s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">I. 161122 VT before during after ECG<\/a>(after Holst&#8217;s Mars from&nbsp;<em>The Planets<\/em>)<a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=3h10m46s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">II. 161102 VT4 before after UNI<\/a>(after Chopin&#8217;s&nbsp;<em>Ballade No. 2<\/em>)<\/td><td>Elaine Chew, Ashwin Krishna, Daniel Soberanes, Matthew Ybarra, Michele Orini, Pier Lambiase<br><em>World premi\u00e8re<\/em><\/td><\/tr><tr><td><em><a href=\"https:\/\/youtu.be\/MZDYwidEQag?t=3h15m3s\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Ballade No. 2 in F major<\/a><\/em><\/td><td>Fr\u00e9d\u00e9ric Chopin<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"elaine-chew\">Program Notes<\/h3>\n\n\n\n<p><strong><em>Transformations<\/em><\/strong>&nbsp;features music created from and inspired by rhythms and tonal patterns of existing material.<\/p>\n\n\n\n<p><strong>Stolen Rhythm<\/strong>&nbsp;(2009) by Cheryl Frances-Hoad \/ Franz Joseph Haydn<\/p>\n\n\n\n<p>This Haydn-inspired piece was commissioned by pianist Matthew Schellhorn as part of his Homage to Haydn on the 200th anniversary of the composer\u2019s death. The piece is based on the third movement (Finale) of Haydn\u2019s Sonata in Eb, Hob XVI:45, chosen for its \u201cboundless energy and wit\u201d. Except for the occasional note shifted by an eighth or sixteenth and the odd 11\/16 bar, in which the composer had removed one sixteenth note from the 3\/4 bar, the rhythmic content follows exactly that of Haydn\u2019s sonata movement. The harmonic and melodic content derives from various transmutations of the notes B-A-D-D-G, a translation of H-A-Y-D-N (where B=H as in German, and with D and G replacing otherwise unplayable letters). The composition was selected as best piece in the Solo\/Duo Instrumental category at the BASCA British Composer Awards 2010.<\/p>\n\n\n\n<p><strong>Practicing Haydn (Piano Sonata in Eb, Hob XVI:45 Finale)<\/strong>&nbsp;(2013) by Elaine Chew, Peter Child, Lina Viste Gr\u00f8nli<\/p>\n\n\n\n<p>Based on Haydn\u2019s Piano Sonata in Eb, Hob XVI:45 Finale, this is a collaborative work between artist Lina Viste Gr\u00f8nli, composer Peter Child, and pianist Elaine Chew. Based upon an idea developed by Gr\u00f8nli and Child, this composition for solo piano is a transcription of Chew practicing the last movement of Haydn\u2019s sonata for the first time. The practice session has been meticulously transcribed by Child, leaving the repetitions, errors, halts and interruptions, to create a new performable score that refracts Haydn\u2019s original music. Practicing Haydn was created for Lina Viste Gr\u00f8nli\u2019s first major solo art show at the Kunsthall Stavanger to coincide with the venue&#8217;s grand opening.<\/p>\n\n\n\n<p><strong>Intermezzo \u2013 for Pedja<\/strong>&nbsp;(2015) by Jonathan Berger<\/p>\n\n\n\n<p>Intermezzo was written for Pedja Muzijevic\u2019s Haydn Dialogues, a concert based on four Haydn sonatas interspersed with contemporary compositions, at the Banff Centre in February 2016. The composer writes, \u201cThe day I started writing Intermezzo I overheard an exuberant toddler trying to tell her mother a story. In her excitement she kept getting lost in describing details and losing the point of the story. I was struck by the precious hesitations in her speech and the charming backslides in her narrative, both of which inspired the quirky sharp turns, and unexpected sudden shifts of gear in the music. Intermezzo comprises a set of seven vignettes (to be precise, actually six and a half given the unresolved conclusion). Though sequentially disjointed, these segments intentionally violate local expectations while tenuously attempting to maintain a narrative. Intermezzo is dedicated with deepest affection to Pedja Muzijevic.\u201d<\/p>\n\n\n\n<p><strong>Three morphed pieces from J.S. Bach&#8217;s &#8220;A Little Notebook for Anna Magdalena&#8221; and three morphed pieces from Kabelevsky&#8217;s &#8220;30 and 24 Pieces for Children&#8221;<\/strong>&nbsp;(2016) by Dorien Herremans and Elaine Chew<\/p>\n\n\n\n<p>(US premi\u00e8re)<\/p>\n\n\n\n<p>These \u201cmorphed\u201d pieces of Bach and Kabalevsky were generated by MorpheuS, an optimization-based system that uses recurrent patterns and tension profiles from template pieces as constraints in the music generation process. Each piece is presented here as it was created by the system. MorpheuS takes as input an original piece of music, and then performs pattern detection, and computes a tonal tension profile. It then uses a variable neighborhood search metaheuristic to iteratively replace the pitches of the original piece with random ones, while preserving repetition patterns, until they approximately fit the tension profile of the original piece. MorpheuS was Dorien Herreman&#8217;s H2020 Marie Sk\u0142odowska-Curie Individual Fellowship project at the Centre for Digital Music at Queen Mary University of London.<\/p>\n\n\n\n<p><strong>Arrhythmia Suite<\/strong>&nbsp;(2017-2018) by Elaine Chew, Ashwin Krishna, Daniel Soberanes, Matthew Ybarra, Michele Orini, Pier Lambiase<\/p>\n\n\n\n<p>I. 161122 VT before during after ECG (after Holst&#8217;s Mars from The Planets)<\/p>\n\n\n\n<p>II. 161102 VT4 before after UNI (after Chopin&#8217;s Ballade No. 2)<\/p>\n\n\n\n<p>(World premi\u00e8re)<\/p>\n\n\n\n<p>The idea for the pieces originated from Chew&#8217;s earlier experiments to notate abnormal heart rhythms and to set them to music that mirrored the rhythms to highlight the parallels between music and abnormal heart rhythms. The rhythms for these pieces are transcribed from electrocardiographic recordings of ventricular tachycardia (VT) episodes, including segments before and after the VT episode. In the recording labeled 161122, VT is induced with short bursts of fast pacing and stopped with anti-tachycardia pacing. The rhythms generated are reminiscent of Holst&#8217;s Mars from The Planets, hence the piece is composed from fragments of Holst&#8217;s piece. In the recording marked 161102, VT starts and stops without electrical stimulation; irregularities in the pulse originate from the heart&#8217;s own electrical activity. The sporadic premature beats in this recording formed a lilting pulse similar to that in Chopin&#8217;s Ballade No. 2; thus, this piece was created from a collage of parts of Chopin&#8217;s piece. The ECG sequences were excerpted by Orini from recordings of Lambiase&#8217;s electrophysiology procedures at the Barts Heart Centre. Soberanes extracted the relevant waveform features; the rhythms of 161122 were transcribed by Krishna and that of 161102 by Ybarra, and Chew made the collages as part of a summer fellowship at the Radcliffe Institute for Advanced Study.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Livestream of concert with world premiere of the Arrhythmia Suite at the 2018 Music and the Brain Symposium at Stanford&#8217;s CCRMA.<\/p>\n","protected":false},"author":1,"featured_media":287,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95,147],"tags":[98,96,97,99],"class_list":["post-284","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-concert","category-music","tag-arrhythmia","tag-concert","tag-performance","tag-rhythm"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Arrhythmia Suite world premi\u00e8re @ Stanford CCRMA Music and the Brain Symposium - 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