Atlas Lab 2016

By Dr. HueyChing Chong, Oct 2019

The experience I gained through Atlas Lab in Amsterdam (Netherlands) was an

unforgettable one. Participants who were selected for this edition of the Lab came
from highly diverse background along with the performers involved. There were
musicians from Middle East, East Asia, South Asia, Southeast Asia, and Europe.
Together, we discussed, made trials, experimented with musical instruments from
different cultures. We learnt and explored the possibilities of each musical
instruments and the tradition they were rooted in. Lectures on selected musical
instruments were presented individually by the experienced performers.

There were a lot of activities going on at the same time during the Lab, and as
participants, we were free to walk in and out (without disturbing the on going
activities) of rehearsals and experimental sessions so that we could observe how
others collaborate and hopefully find some inspirations and learn some methods on
smooth collaboration.

Besides the activities, the location of the Lab was also an enjoyable one. It was at
the Conservatorium van Amsterdam, a modern building on an island. Close to the
conservatory there was a beautiful cafe which became a popular hang out place for
the participants after the daily activities ended.

During this Lab, I made three sketches, at-test III for Armenian Duduk Solo; at-test
IV for Sheng (Chinese Mouth Organ) and Zheng (Chinese Zither), and at-test V
(based on at-test IV) for various instrumentalists including Clarinet in Bb,
Shakuhachi (Japanese Flute), Daegum (Korean Transverse Bamboo Flute), and
Zheng. These pieces were different from my previous compositions because they
served less as concert pieces but more as experimental sketches for me to figure
out new ways to work between musical instruments rooted in different cultures. Also
the diverse performance practices among musicians rooted in different cultures.
The question of western notation for Asian musical instruments also sparked some
interesting discussion during the Lab.

We were not expected to complete a new piece during this nine days Lab. Thus, the
stress of working towards a world premiere is lifted, and we were more free to
paying attention on making trials and errors to figure out the questions we have
individually when it comes to composing for musical instruments and musicians
who are not rooted in the Western Art Music tradition. These experience proved to
be mind-opening and beneficial for us in future composition approach.

Besides all the intensive experiments, lectures, concerts, and collaboration, we

managed to find some times to connect among participants which resulted in many
future collaborations for the post-lab period.

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