Youmna Saba (lb/fr)
Youmna Saba (Beirut 1984) is a musician, composer, and musicologist. She holds a Master’s degree in musicology from Antonine University in Lebanon. Her current research deals with the relationship between electroacoustic music and the Arabic language in its sung form. These explorations manifest themselves in various projects, ranging from musical composition for her solo project, collaborations, and film music to electroacoustic experiments.
Accompanying her mesmeric vocals, Saba plays the oud with a special digital extension that she developed as part of a research project. This attachment uses integrated synthesized electronics that amplify the subtle haptic vibrations of the oud’s fingerboard and its hidden resonances that often slip by the human ear. On her most recent album Wishah (2023), meaning “veil” in Arabic, this can be heard in full force. Wriggling strings and creaking fingerboards careen through songs such as “Ba'oud,” while droning subterranean tones rumble in “Al khayal,” perforated by the clarity of Saba’s voice. Electroacoustic in its truest sense, the music feels much like a collaboration between something synthetic and something deeply human. ...
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Youmna Saba (lb/fr)
Youmna Saba (Beirut 1984) is a musician, composer, and musicologist. She holds a Master’s degree in musicology from Antonine University in Lebanon. Her current research deals with the relationship between electroacoustic music and the Arabic language in its sung form. These explorations manifest themselves in various projects, ranging from musical composition for her solo project, collaborations, and film music to electroacoustic experiments.
Accompanying her mesmeric vocals, Saba plays the oud with a special digital extension that she developed as part of a research project. This attachment uses integrated synthesized electronics that amplify the subtle haptic vibrations of the oud’s fingerboard and its hidden resonances that often slip by the human ear. On her most recent album Wishah (2023), meaning “veil” in Arabic, this can be heard in full force. Wriggling strings and creaking fingerboards careen through songs such as “Ba'oud,” while droning subterranean tones rumble in “Al khayal,” perforated by the clarity of Saba’s voice. Electroacoustic in its truest sense, the music feels much like a collaboration between something synthetic and something deeply human.
Borrowing from the long tradition of instrument making, Saba brings a new approach, cybernetically adapting the oud for exploration into new sonic potentials. The oud speaks just as she does – appearing in her music as an ethereal figure with many urgent things to address and with an uncanny sense of agency and expression.
rosyán (dk/ir)
rosyán is the solo project of Rosanna Lorenzen, a Danish/Iranian composer, cellist, and sound artist. With the cello taking the lead role, she explores the instrument and its possibilities, both acoustically and through electronic manipulation. This exploration results in new, unpredictable sound patterns that range from fragile passages to raw and massive ones, often combined with field recordings, both unpolished and processed. In her sound, she moves fluidly between atmospheric soundscapes and rhythmic structures, constantly balancing between improvisation and predetermined form.
"By utilizing the instrument and the sounds of our surroundings, I experiment with what the electronic and acoustic worlds can offer, pushing the boundaries in a way that challenges our expectations," she explains.
Lorenzen collaborates across genres with other musicians and visual artists. She has performed in diverse settings, ranging from sound wells in Frederiksberg and bass-vibrating floors to domes in Berlin, sleep concerts, and an audiovisual performance piece in an 18-meter tall oil tank in Sweden with 25 seconds of reverberation. She has also graced venues like the Cathedral of Copenhagen, SPOT Festival, SPOR Festival, and the Danish Radio Concert Hall.
Youmna Saba (lb/fr)
Youmna Saba, født i Beirut i 1984, er en alsidig musiker, komponist og forsker med en kandidatgrad i musikvidenskab fra Antonine University i Libanon. Hendes nuværende forskning fokuserer på forbindelsen mellem elektroakustisk musik og det arabisk sprog i dets vokale form. Hendes undersøgelser afspejles i en række projekter, der spænder fra nærværende soloprojekt, diverse samarbejder og filmmusik til elektroakustiske eksperimenter og lydkunst.
Med sin fortryllende vokal og sjælefuld sufi-poesi akkompagnerer Saba oud'en, som er udstyret med en unik digital udvidelse, som hun udviklede som en del af sit forskningsarbejde. Denne tilføjelse anvender integreret syntetiseret elektronik, der forstærker de subtile haptiske vibrationer på oud'ens gribebræt og dens skjulte resonanser, som ofte går ubemærket hen af det menneskelige øre. Denne teknik kan opleves i sin fulde kraft på hendes seneste album "Wishah" fra 2023, hvor de skærende strenge og det knirkende gribebræt smelter sammen i sange som "Ba'oud", mens dybe, underjordiske toner buldrer i "Al khayal", alt sammen underbygget af Sabas klare, nærværende stemme. Musikken er elektroakustisk i sin sandeste forstand og fremstår som et symbiotisk samspil mellem det syntetiske og det dybt menneskelige.
Med inspiration fra den lange tradition for instrumentbygning bringer Saba en ny tilgang, der kybernetisk tæmmer oud'en for at udforske nye soniske muligheder. Ouden taler på samme måde som hun gør - den fremstår i hendes musik som en æterisk figur med et væld af presserende emner at udforske, og den udstråler en uhyggelig følelse af handlekraft og udtryk.
rosyán (dk/ir)
rosyán er den dansk-iranske komponist-, cellist- og lydkunstner Rosanna Lorenzens soloprojekt. Med celloen i hovedrollen udforsker hun instrumentet og dets muligheder både akustisk og gennem elektronisk manipulation, hvilket resulterer i nye, uforudsigelige lydmønstre fra skrøbelige passager til rå og massive - ofte kombineret med feltoptagelser, både ubehandlede og bearbejdede. I sin lyd bevæger hun sig mellem atmosfæriske lydlandskaber og rytmiske strukturer, konstant balancerende mellem improvisation og forudbestemt form.
"Ved at bruge instrumentet og lydene fra vores omgivelser eksperimenterer jeg med, hvad den elektroniske og akustiske verden kan tilbyde, og skubber grænserne på en måde, der udfordrer vores forventninger," forklarer hun.
Hun arbejder og samarbejder på tværs af genrer med andre musikere og visuelle kunstnere. Hun har optrådt i forskelligartede miljøer, lige fra Lydbrøndene på Frederiksberg og bassvibrerende gulve til domer i Berlin, sovekoncerter og en audiovisuel opførelse i en 18 meter høj olietank i Sverige med 25 sekunders rumklang. Hun har også optrådt i Københavns Domkirke, på SPOT Festival, SPOR Festival og i DR Koncertsalen.
Event organized by Final Descent
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