tonota: 7/8 (2024.)
tonota: uncertainty (2022.)
Ji Youn Kang: The Voice (2021.)
Ji Youn Kang: Punky Pulse Pool (2019.)

Tickets presale: Entrio.hr

At the end of October, KONTEJNER presents two exciting sound performance evenings dedicated to the spatialization of sound. The program includes performances by Croatian and international musicians, composers and video artists who will perform their recent multi-channel electronic and electroacoustic compositions and audiovisual performances.

The two-days program begins with the performance of producer and musician Ivona Eterović tonota; brings the first guest appearance in Zagreb of one of the most important composers and musicians, but also a lecturer in the field of spatial sound, Ji Youn Kang; the Croatian premiere of Tomislav Oliver's composition - his final work on the study program at IRCAM in Paris - with a video by Goran Nježić and performed by saxophonist Joshua Hyde; followed by an audiovisual performance by Canadian sound artist Joël Lavoie and experimental filmmaker Guillaume Vallée; and the program ends with a performance by Mark Fell and Rian Treanor, who will perform a multi-channel composition created during a joint residency at INA GRM in Paris.

tonota (HR): 7/8 (2024)
The multi-channel electronic composition 7/8 is tonota's recent work in the area of ​​spatial sound. It was composed just after her participation in the workshop of the producer and composer Nicolás Jaar, which certainly influenced the composition itself. Tonota's starting point was the exploration of percussive electronic sound and a distancing from her more familiar sounds, beats and conventional rhythms. By exploring the potential of superimposing repetitive figures, tonota has built a minimalist rhythmic composition that unobtrusively but convincingly drives the listener, acting at the same time somewhat hypnotically and very calming.

tonota (HR): uncertainty (2022)
uncertainty is a spatial sound composition that aims to portray a feeling of uncertainty and the ways in which people cope with it. The inspiration for the piece is derived from life during the pandemic; from the drastic changes the author’s career went through, aiming to devote herself to music full-time; and from the conversations she had with her sister while writing her Master’s thesis “Experience of people with the obsessive-compulsive disorder during the COVID-19 pandemic”. For people with OCD, coping with the unknown is quite demanding, and for all of these reasons, for tonota, uncertainty became a loud background noise that was difficult to assuage. tonota portrays a sense of uncertainty in its overwhelming feeling of confusion and loss of clear judgment, employing rhythmic patterns and other sonic elements to depict ways in which people try to find comfort in establishing order where there is none. Her compositional techniques have been influenced by Beatrice Dillon’s piece Workaround and Steve Reich’s Music for 18 Musicians.

Ji Youn Kang: The Voice (2021)
The unique tone of the performing space is captured through continuously stabilized audio feedback, using two microphones attached to the performer’s wrists and eight loudspeakers. This simple tone interacts with itself through spatialization and the performer's responsive movements. Over time, the voice evolves into a more intricate sonic structure, shaped by continuous cycles and interwoven processing modules. It speaks. We listen. This piece is part of the artistic research at The Royal Conservatoire in The Hague, within the lectorate “Sound Spatialization in Live Electronics”.

Ji Youn Kang: Enfolding Plane III - Punky Pulse Pool (2019)
Enfolding Plane is a series of electro-acoustic music pieces composed for various multichannel sound systems. The materials for this third version are variations derived from a short gesture using a pulse oscillator. Each variation was then re-synthesized into a new form by radically modulating phase, sample rate, and bit rate. Instead of presenting them sequentially, the sounds were randomly distributed across time and space. Like freely assembling a puzzle with different blocks, the layered and compressed sound materials are sculpted and reorganized both musically and spatially. In doing so, new relationships between sound events are uncovered, allowing the allied and surviving sound parts to develop with a newfound connectivity.