Ever since the building of the intonarumori, the weird noise machines built by the Italian futurist Luigi Russolo more than 100 years ago, over early electronic sound generation, up to the interest of nowadays in the sound characteristics of virtually any object, the quest for experimental sounds and sound production techniques has always been key in 'contemporary music' practice. The performers of GAME (the Ghent Advanced Master Ensemble of the contemporary music programme at the Ghent Conservatory) even go one step beyond, and put the main focus on the very instrument that actually plays the sound objects: the human body and human mind. What defines the identity of a performer ? Is a percussionist still a percussionist when he plays an amplified threaded drainpipe with chopsticks, is a pianist still pianist when he plays on the surface of a table ? These questions come forward in the daily practice of the GAME performers.
An interesting concert program has emerged from their daily research with, among others, ‘Zafe’ (Jonah Haven), a mini-industrial world of sound by giant contact-miced screws and parts of plumbing, '3 sur 5’ (Clara Ianotta), with accordion sounds transforming into percussion sounds and vice versa, ‘with paper’ (James Saunders), a series of score sheets where the notation and instrument are contained within a page, a birdcall flute septet by Robin Hoffman, complicated live electronics and blurring boundaries between reality and illusion.