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      • ​Call for works - ACL New Zealand 2020
      • Call for works - Solo piano pieces by Malaysian composers ​
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      • The 10th China ConTempo Composition Competition
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      • ​Call for scores - 35th ACL Festival and Conference Taiwan 2018
      • Ars Electronica Forum Wallis 2018 CALL FOR STEREO OR QUADROPHONIC ACOUSMATIC WORKS
      • 寻找中国的声音——第六届刘天华奖中国民乐室内乐作品征集简章
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        • An Introduction to the festival
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        • Post production review >
          • 五棰半 :音桥音乐节| 当代亚洲音乐的发光站
          • 邹向平 :​“音桥当代音乐节”见闻四则
          • Post production review by Teh Tian Yoon
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    • SoundBridge 2021 - People's Music Magazine Feature
    • Sin Chew Daily Feature on SMCC & SoundBridge
    • Tracing Art Music Compositions and Composers in Malaysia
    • Malaysian Young Composers' Workshop 2021
    • 现代音乐永远的夏天 马来西亚第三届“音桥当代音乐节”之热效应 - 邹向
    • 森林里的艺术世界 - 李茜云
    • Interview with Peter Vaele - by Ruth Rodrigues
    • 新音乐中的新音乐 ——参观 2011 多瑙厄申根新音乐节 文/杨琳
    • 多元且專注─2011年第四屆上海當代音樂周總評-林芳宜
    • 亞洲音樂先鋒-亞洲作曲家聯盟暨2011亞太音樂節-林芳宜
    • SKETCHES: THE MANILA COMPOSERS LAB 2009 - BY HUEYCHING CHONG
    • JONAS BAES ON PATANGIS-BUWAYA [2003]
    • Koji Nakano New Approach to
    • Composers+ Summer Academy 2017 By Dr. HueyChing Chong
    • The Barcelona Modern International Composition Course 4th Edition 2017/18 ​By Dr. HueyChing Chong, Oct 2019
    • Atlas Lab 2016 By Dr. HueyChing Chong, Oct 2019
    • BUILDING BRIDGES: Concert 5 (SoundBridge IV), presented as part of the 4th SoundBridge Contemporary Music Festival By Jon Lin Chua
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SoundBridge 2017

Picture
(Connecting Cities Concert I artists born in Japan, Malaysia, Thailand, Taiwan, Germany, China, Indonesia, Philippines, Singapore and France.)
​​
The third SoundBridge New Music Festival, October 6-7, 2017 showcased its niche for contemporary new music compositions once again at Damansara Performance Arts Center (DPAC). Organized by the Society of Malaysian Contemporary Composers, the festival connects contemporary composers with musicians through performance and mid-career artists with young composers through collaborative mentorship. Thus, SoundBridge creates a setting for multi-cultural and multi-generational crossover through music.

​
Picture
(Audience taking selfies or instagrams to remember the occasion)

The first concert features composers from different cities. With German composers residing in Asia and composers in Asia fluent in Western schools of rhetoric, this concert challenges the ear to see cities beyond its assumed location and ethnicity. As a program, perhaps fluid identities are creating a contemporary aesthetic for music in reflection to each culture’s influence on a composer’s heritage and training.


​
Picture
(Thai composers Jiradej Setabundhu and Prinda Setabundhu’s piece “Man against Machine” for percussion solo and visual projection)
Picture
(“Jonico” for 2 percussionist by Dieter Mack from Germany, performed by Max Reifer and Kyle Daniel Acuncius.)
​
Picture
(“Yuan Liu” by Chong Kee Yong. Left to right: Xie Sisters Duo – Xie Yashuang Zi and Xie Ya-ou, Max Reifer, Kyle Daniel Acuncius, Chong Mei Ling)

​Concert 2 was a showcase of cross-media collaboration between emerging young composers and mid-career artists. It is the fruit of a 3-5 month long collaboration with a challenge to write for a mixed ensemble of ethnic and western instruments. This was done in close partnership with a co-creator in traditional music, traditional dance, modern dance, visual arts, painting, improvisation or live electronics. In the music scene, SoundBridge is one of the few, if not the only sponsor in Malaysia for staging experimental music and support young work.
​
Picture
(“Blossom” by Teh Tian Yoon and Deasylina de Ary. Clockwise from left: Kamiya Hiromi, Teo Jian Xian, Shen Ling Hsuan and Deasylina de Ary.)
Picture
(“Jampi-jampi” by Muhammad Arham Aryadi from Indonesia. Right to left: guest violist William Lane, Javanese dancer Agung Gunawan)

​Concert 3 features an all-Malaysian cast. It is a performance of works from young professionals and mid-career composers. The program featured new works for piano, percussion, and choir from soloists and ensembles in the area.

Picture
(Full cast, crew, and performers.)

​In reflection, it is interesting to note how much theatre and performance art is adopted into a music composition as an artistic process or as enhancement to an expression.


There role that SoundBridge plays in Malaysia’s music and arts scene as a growing industry is significant. The support that went into Concert II, for instance, reminds me of a downtown performance art platform called La Mama ETC in New York. It is a place that saw Tan Dun and Meredith Monk launch into their careers. La Mama is a theatre that supports highly experimental art. With this space, artists revisit the ideas that are unique to its time and place. In Malaysia, SoundBridge is the only platform that persists at a conversation of cross-media experiments since its precursor as Urban Scapes 9 years ago. It meets the needs of a maturing arts industry. Even though experimental pieces runs the risk of seeming unfinished and incomplete at showings, seeing the raw thoughts behind a piece is what informs and audience and new artists on the aesthetic that is in construction for their time. If it is finished, the work is no longer contemporary. That said, unfinished conversations can be refined and raw work.

Picture
(Educational panel discussion on cross-media collaboration before concerts.)
The smell of new music in SoundBridge 2017 is like that of durian: a pleasure that one repels, rebels or found invigorating. The choice to present only contemporary music of the region makes SoundBridge a platform of contrast where artists can see fine arts, removed from its pedestal and reframed in its local context. From raw works-in-progress, to competitive performance pieces, this festival adds to the regional and international conversation of new music compositions. But most of all, the festival is a sign of an adolescent arts industry at the cusp of maturing where art is relevant to the day-to-day, and experiments are supported and caught on in the broader audience. ​
Picture
(Educational lecture on idiomatic flute writing and performance demonstration by Daiske Kino-Shita)

​Reflection by Teh Tian Yoon

Photos by SoundBridge 2017


​
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  • Home
  • About SMCC
    • Visions
    • SMCC Committee Members
    • Members
    • Membership Application
  • Opportunities
    • 2022 >
      • Borneo Ensemble Composer Series
      • Tunku Zain Piano Trio Composition Competition 2022
    • 2021 >
      • TNMAS 2021 Call for Scores
      • Malaysia Young Composers' Workshop 2021
      • New Music Room Call for Scores
      • Goethe Institut Digital Mentoring Programme
      • 10th Rivers Awards Composition Competition
    • 2019 >
      • 【衛武營當代音樂平台】國際作曲徵件與彼得.于特福許作曲大師班
      • ​Call for works - ACL New Zealand 2020
      • Call for works - Solo piano pieces by Malaysian composers ​
      • 1ST INTERNATIONAL EISENACH COMPOSITION PRIZE
      • The 10th China ConTempo Composition Competition
      • 第一届上海室内歌剧作品国际比赛章程
      • Passepartout Duo - Music Seminar and a Composition & Performance Workshop ​
      • PIERROT LUNAIRE INTERNATIONAL COMPOSITION COMPETITION 2019
      • 2019 年 第八届「百川奖」作曲比赛
      • 作曲专业 | 柏林音乐表演艺术学院 AfMB-恺撒堡 2019 冬季学校
      • Forum Wallis 2019
    • 2018 >
      • Call for score : ASEAN Youth Ensemble (AYE) 2018
      • 2018 Banaue International Music Composition Competition
      • Ding Yi - Composium 2018
      • Call for application: 2018 International Gugak Workshop
      • PYO CALL FOR SCORE 2018
      • ​Call for scores - 35th ACL Festival and Conference Taiwan 2018
      • Ars Electronica Forum Wallis 2018 CALL FOR STEREO OR QUADROPHONIC ACOUSMATIC WORKS
      • 寻找中国的声音——第六届刘天华奖中国民乐室内乐作品征集简章
      • 2018 Breaking music - International Composition Competition
      • Call for Composition - Breaking New Ground
    • 2016 >
      • ACL 2016
    • 2015 >
      • ACL Philippines 2015
    • 2014
    • 2013 >
      • 32nd Conference and Festival 2014, Japan: Call for Scores
      • ACL 2013 (Asian Composer League)
      • Ninth Thailand International Composers Competition 2013
      • 5th International Pharos Contemporary Music Festival and Ensemble TRANSMISSION
      • New Gamelan Music Festival: Call for Scores
      • Singapore Chinese Orchestra Composer Workshop 2013
      • Chamber•Sounds Regional Call For Chamber Opera Proposals 2013
      • Beijing International Composition Workshop 2013
  • Events
    • 2021 >
      • SoundBridge Virtual 2021
      • Hong-Da Chin Concert Presented by No Exit Ensemble
      • Ding Yi Music Company Composium 2021
    • 2019 >
      • Music improvisation workshop by Otomo Yoshihide
      • 琴弦两岸 - 马来西亚、新加坡小提琴与钢琴作品音乐会
      • Soundbridge 2019 >
        • Soundbridge 2019 - Flyer
      • Into the Sound
      • From NY To KL
      • Natural Spectra by Christoven
      • Cello Recital by Friedrich Gauwerky
      • 4th SoundBridge Contemporary Music Festival 2019
    • 2018 >
      • The 9th Malaysian Composers Concert Series 2018
      • European Journey
    • 2017 >
      • Piano Recital by Simon Nabatov
      • SoundBridge 2017 >
        • An Introduction to the festival
        • Support Messages
        • Gallery
        • 2017 SoundBridge Booklet
        • Soundbridge 2017 booklet for download
        • Post production review >
          • 五棰半 :音桥音乐节| 当代亚洲音乐的发光站
          • 邹向平 :​“音桥当代音乐节”见闻四则
          • Post production review by Teh Tian Yoon
    • 2015 >
      • SoundBridge 2015
    • 2013 >
      • KLC Malaysian Composers Concert Series 2013
      • Young Southeast Asian Composers Shone at Festival
      • ACME and Studio MusikFabrik (Chinese Version)
      • SoundBridge 音橋 2013 >
        • Festival Event Details >
          • Support Message
          • Concert 1 - SoundBridge
          • Concert 2 - Malaysian Voices III
          • Photography and Calligraphy Exhibition
          • Musicians and Artists
          • Malaysian Composers
          • Young Composers
          • Panelist
    • 2010 >
      • Composer Workshop Series I
  • Articles
    • SoundBridge 2021 - People's Music Magazine Feature
    • Sin Chew Daily Feature on SMCC & SoundBridge
    • Tracing Art Music Compositions and Composers in Malaysia
    • Malaysian Young Composers' Workshop 2021
    • 现代音乐永远的夏天 马来西亚第三届“音桥当代音乐节”之热效应 - 邹向
    • 森林里的艺术世界 - 李茜云
    • Interview with Peter Vaele - by Ruth Rodrigues
    • 新音乐中的新音乐 ——参观 2011 多瑙厄申根新音乐节 文/杨琳
    • 多元且專注─2011年第四屆上海當代音樂周總評-林芳宜
    • 亞洲音樂先鋒-亞洲作曲家聯盟暨2011亞太音樂節-林芳宜
    • SKETCHES: THE MANILA COMPOSERS LAB 2009 - BY HUEYCHING CHONG
    • JONAS BAES ON PATANGIS-BUWAYA [2003]
    • Koji Nakano New Approach to
    • Composers+ Summer Academy 2017 By Dr. HueyChing Chong
    • The Barcelona Modern International Composition Course 4th Edition 2017/18 ​By Dr. HueyChing Chong, Oct 2019
    • Atlas Lab 2016 By Dr. HueyChing Chong, Oct 2019
    • BUILDING BRIDGES: Concert 5 (SoundBridge IV), presented as part of the 4th SoundBridge Contemporary Music Festival By Jon Lin Chua
  • Contact Us