C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Todoroff, Todor 

Todor Todoroff



Todor Todoroff is an Electrical Engineer with a specialisation in telecommunications (1987). He received a First Prize in Electroacoustic Composition at the Royal Conservatory of Music in Brussels (1993) as well as a higher diploma in Electroacoustic Composition at the Royal Conservatory of Music in Mons (1996).

After having been researcher in the field of speech processing at the Free University of Brussels, he was during 5 years head of the Computer Music Research at the Polytechnic Faculty in Mons (Belgium) where he developed real-time software tools for processing and spatialisation of sounds aimed at electroacoustic music composers in collaboration with the Royal Conservatory of Music in Mons. He collaborated on several occasions with IRCAM where his computer tools were used by composers like Emmanuel Nunes, Luca Francesconi and Joshua Fineberg. His programs where used in Mons by composers like Leo Kupper and Robert Normandeau.

He continued his research within ARTeM where he developed several interactive systems for concerts, sound installations and dance performances, using a wide variety of sensors.

From 2008 to 2013 he came back as a researcher at the Polytechnic Faculty in Mons on the Numediart Project. He is also teacher in the Digital Art section at the Academy of Arts Arts2 in Mons.

He is co-founder and president of FeBeME (Belgian Federation of Electroacoustic Music) and ARTeM (Art, Research, Technology & Music), and founding member and administrator of the Forum des Compositeurs. He was member of the Bureau of ICEM, Belgian representative of the European COST actions "Digital Audio Effects" (DAFX, 1997-2001) and "Gesture Controlled Audio Systems" (CONGAS, 2003-2007).

He worked on the Quartet project led by Margie Medlin for which he developed sensors and sound analysis and transformation tools for violinist Stevie Wishart. Funded partly by a SCIART grant from the Wellcome Trust (UK), it instigated a collaboration with Dr. Ian M. Winter from the physiological Laboratory from Cambridge University in order to apply models of auditory perception to live sound analysis and to virtual instruments.

His electroacoustic music shows a special interest for multiphony and sound spatialisation as well as for research into new forms of sound transformation.

Besides pure acousmatic music, he is developing and extending software tools for live sound generation and transformation for live concerts using custom-made wearable sensors. First used in the framework of improvisation with musicians like Jean-Paul Dessy, Eric Sleichim or Stevie Wishart,those tools were used in 2007 for solo concerts, in Reykjavik in Iceland and, combined with new spatialisation algorithms, in Karslruhe, Budapest and Munich as part of a commission from ZKM (Zentrum für Kunst und Medientechnologie) in Germany.

The latest developments were used for a Joystick Orchestra of 12 musicians performing joysticks, gamepads and sensors in the Ars Musica Festival in March 2011 and for the audiovisual performance eVanescens, premiered at JIM2012, with video by Laura Colmenares Guerra and cellist Sigrid Vandenbogaerde.

Fascinated by the dialogue between electroacoustic music and other art forms, he also composes music for film, video, dance, theatre and sound installation.

His collaboration with the Belgian choreographer Michèle Noiret started in 1998 on the show <En Jeu >. Since then he composed music and developed interactive systems for In Between (2000), Twelve Seasons (2001), Mes Jours et mes Nuits (2002), Sait-on Jamais? (2003), Territoires Intimes (2004), Les familiers du Labyrinthe (2005, Paris Opera) and Chambre Blanche (2006) and De deux points de vue, (Luxemburg 2007,European Culture Town), Demain (2009), Minutes Opportunes (2010), Hors-Champ (2013) and Radioscopies (2015).

He participated at the development of interactive installations at F0AM in Brussels: the audiovisual installation txOom (2002, Great Yarmouth, UK) and the haptic installation Lyt_A (touch at a distance, for Pheano, the Sience Museum in Wolfsburg, DE, 2005). He collaborated with Marie-Jo Lafontaine on the video Des Ombres (1994) and on the sound installations Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen (1996) and The world starts every minute (2007). He also collaborated with Fred Vaillant for Eclats Fluides (2007) and Laura Colmenares Guerra for Lungs [The Breather] (2008), Mario Benjamin (2011), and Christian Graupner for PendulA (2014).

Prize of the Audience at the International Noroit Competition (France, 91), finalist at the International Luigi Russolo Competition (Italy, 1992 ), the I. Concorso Internacional de Musica Eletroacustica de Sao Paulo (Brazil, 1995) and Musica Nova (Czekia, 2000). Mentions (2002, 2005 and 2009) and First Prize (2007) at the International Bourges Competitions.

Amongst others, he received commissions from the Opéra de Paris (F), Institut de Musique Electroacoustique de Bourges (F), Art Zoyd (F), Musiques Nouvelles (B), Musée des Beaux-Arts d’Angers (F), Festivaal van Vlaanderen (B) and Zentrum für Kunst und Medientechnologie (DE).

His music has been played on the radio in several countries and has been programmed in many festivals: Bunker 91 (Antwerp, B), Cycle Acousmatique 92 (Brussels, B), Euracousma 93 (Montreal, CA), Ars Musica 93, 94, 2000 and 2002 (Brussels, B), Synthèse 94, 97, 98, 2000, 2002, 2003, 2005 and 2006 (Bourges, F), Futura 94, 95 and 96 (Crest, F), Muziek in de Stad 95 (Antwerp, B), JIM 95 (Paris, F), CIMESP 95 (Sao Paulo, Brazil), ICMC 95 (Banff, CA), ISEA 95 (Montreal, CA), AVE 95 (Arnhem, NL), JIM 96 (Tatihou, F), Echange Belgique/Québec 96 (Montreal, CA and Brussels, B), ICMC 96 (Hong Kong), ISEA 96 (Rotterdam, NL), FEM 96 (Bratislava, Slovakia), Discoveries 97 (Aberdeen, UK), ISEA 97 (Chicago, USA), V Jornadas de Informatica y Electronica Musical 98 (Madrid, E), ElektroKomplex 98 (Vienna, Au), Fifth, sixth and seventh International Acousmatic Festival 98, 99 and 2000 (Brussels, B), Contemporary Belgian Dance Festival 99 (Cairo, Egypt), Electroacoustic Academy Now! 99 (Glasgow, UK), Imaginary Space 99 (Wellington, Australia), ICMC99 (Beijing, China), ICMC 2000 (Berlin, D), ISEA 2000 (Paris, F), Festival Terza Prattica 2000 (Amsterdam, NL), Elektra 2000 (Montreal, CA), EuCuE 2000 (Montreal, CA), Dialogen 2001 (Gand, B), Electroacoustic summer 2001 (Gand, B), AUDIOVISION 2001 (Denton, Texas, USA), CIRCUS 2001 (Glasgow, UK), Espaces Sonores 2002 (Paris, F), Inventionen 2002 (Berlin, D), Electroacoustic Autumn 2002 (Sofia, BG), KunstenFESTIVALdesarts 2001 et 2003 (Brussels, B), 3 Ciclo Internacional Musica Electroacoustica 2003 (Santiago, Chile), Bozart Musique 2003 (Brussels, B), Transelectroacoustique du GMEM 2004 (Marseilles, F), Festival Homo Futuris 2006 Vooruit (Ghent, B) , La Bâtie 2008 (Annemasse, F), OdeGand 2008 (Ghent, B), PING! 2008 (Andratx, Spain), LOOP1 (2008, Brussels, B), Rencontres Chorégraphiques de Carthage (2008, Tunisia) ICMC 2009 (Montréal, Canada), Dance Triennale Tokyo (2009, Japan), Crea Numerica (2009, Beyrouth, Liban), City Sonics 2010 (Mons, B), Synoptic 2010 (Pécs, Hungary), Seoul Performing Arts Festival (SPAF 2010, Korea),LOOP3 (2010, Brussels, B), Ars Musica 2011 (Mons, B), ICMC 2011 (Huddersfield, UK), JIM 2012 (Mons, B), LOOP5 (2012, Brussels, B), Ars Musica 2013 (Brussels, B), Semaine du son (2014, Brussels, B), BIAN 2014 (Montreal, CA), EMS15 Mutek/Elektra (2014, Montreal, CA), NIME 2014 (London, UK), Nuit Blanche 2014 (Brussels, B), ISCM World Music Days 2014 (Wroclav, P), Ars Musica 2014 (Brussels, B), VIA 2015 (MONS2015, B), IWF (2015, Beijing, China), APEM (2015, Lisbon, P), Musicacoustica 2015 (Beijing, China), Cross-Strait Modern Technological Music Festival 2015 (Xiamen, China), LOOP 8 (2015, Brussels, B), …




Works in ISCM catalogue



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