Tamas Ungvary
Instrument: double bass

Photo: Courtesy of T. Ungvary ©

Ungvary Tamas


# Title Year of Originsort icon Duration Instrumentation Category
1 Recollection No 2 2007 14m
2 Recollection No 3 2007 14m 17s
3 Basic Barrier 2007 Remix 2007 7m 30s
4 Svart Materia 2006 12m
5 Distween 2000 6m 7s
6 Between 1 2000 6m 34s
7 Between 2 2000 6m 57s
8 MELOSIX - Musik für ein Video 1997 10m
9 GRATTIS 1994 11m
10 Sentograffito No. 2 1994 17m
11 s. a. t. t. - (small and tough tech) 1994
12 Transpacing No. 1 - Quick Time Movie 1994 2m 2s
13 Transpacings No. 2 - Quick Time Movie 1994 1m 42s
14 Sentograffito 1993 17m
15 Realtime - Fernsehmusik 1993 30m
16 Recollections I - (Itågkomster) 1992 - 1996 14m
17 SONO-LOGOS - Duo für Keyboard und ein anderes Instrument 1991 ~ 10m
18 Istenem, Uram! 1990 12m 30s
19 DIS-TANZ - für Kammerensemble mit 1-15 Spielern und Tonband 1990 8m
20 Akonel No. 4 1989 35m 4s
21 Präludium 1987 10m 20s
22 Gipsy children's giant dance with Ili Fourier 1986 18m
23 L'aube des flammes 1984 14m
24 Toutevarie No. 1 1984 25m
25 Toutevarie No. 2 1984 25m
26 Dirigenten - Fernsehmusik 1984 13m
27 Samspel - music for the television 1984 8m 15s
28 Olarra 1983 10m
29 Etude 83 1983 5m 40s
30 Solo - Ballett 1982 8m 40s
31 Melos No. 3 1982 10m
32 Trio - Ballett 1982 12m
33 Ite, missa est - (Me, a day and you) 1982 12m
34 Alibiography - Musiktheater 1982 16m 35s
35 Melos No. 2 1981 10m
36 Distraction 1981 10m
37 Melos No. 1 1980 10m
38 Seul 1979 21m
39 Seul (Radioversion) 1979 14m
40 Sinus-Coitus 1979 17m
41 Sinus Concerto 1979 24m
42 Les mouvements mousseux 1979 13m 30s
43 Akonel No. 3 1979
44 Interaction No. 2 1979 15m
45 Romeo und Julia - Bühnenmusik 1978 10m
46 Psalm 90.10 1978 25m
47 On the edges of light - Ballettmusik 1978 25m
48 Interaction 1978 24m
49 Akonel No. 2 1978 10m
50 Akonel 1978 10m
51 Etüde No. ? 1978 8m
52 Un portrait 1977 4m 30s
53 Incrementum II 1977 5m 30s
54 Incrementum 1975 9m 30s
55 Traum des Einsamen 1974 14m
56 Band-noire - Background Music 1973 5m 30s
57 Basic Barrier 1973 7m 35s
58 Annons 1973 7m
59 Apèro 1973 4m 10s
60 Stehaufmännchen 1973
61 Vattendroppen 1971
62 Stamp Music - for Orchestra 1971
63 Sentograffito No. 3 - for sentograph and live computer performance 13m
64 Fingerprint No. 1-9 1m - 4m 30s

General Information

Date of Birth:  12. November 1936
Place of Birth:  Kalocsa
Country of Birth: 


PeriodEducationInstrumentTeacherEducation OrganisationLocation

studies with Jenö Plan


studies with Endre Zarecky

1953 - 1961

Béla Bartók-Conservatory: studies with Josef Bonyhadi

1967 - 1969




1970 - 1971

Institute for Electronic Music Stockholm: courses for electronic and computer music

1980 - 1981

Digital Equipment Corporation (DEC): programming and system manager course for VAX mini computers


computer music programming


Lund: master classes for composition (Dennis Smaley)


Lund: master classes for composition (Morton Subotnik)

conducting courses (Jean Martinon)

conducting courses (Albert Simon)

conducting courses (Dean Dixon)

Estoril: interpretation and chamber music courses


composition (Iannis Xenakis)


1956 - 1957

Budapest Operetta Theater: member of the orchestra

1957 - 1969

Hungarian Symphony Orchestra: double-bass player


member of the choir


Béla Bartók Theater: conductor

1967 - 1968

Hungarian Youth Orchestra: conductor

1967 - 1969

solo double-bass player and musical assistent

1969 - 1974

freelance conductor in Sweden

1971 - 1974

Orchestra of Stockholm Music Schools: conductor


Regionmusiken, Boden: conductor

1973 - 1974

Statens Normal Skola: head of the sound laboratory



1974 - 1980

Stiftelsen Elektro-akustisk Musik i Sverige (EMS): composer in residence and studio-assistent, lector and technical assistant, assistant of the composers Jan W. Morthenson, Erhard Karkoschka, Anestis Logothetis, Dieter Kaufmann etc. and contributions to the realization of compositions by Boguslaw Schaeffer


foundation of the Kineto-Auditory Communication Research Group (KACOR) together with the choreographer Peter Rajka

1988 - 1990

National College of Dance Sweden: director of the Kineto-Auditory Communication Research Group (KACOR)


Magyar Tudományos Akadémia: advisor of the experimental scientific music group

1989 - 1993

Stiftelsen Elektro-akustisk Musik i Sverige (EMS): artistic director

1990 - 1995

International Computer Music Association (ICMA): member of the board

1990 - 1999

The Royal College of Technology Stockholm: KACOR-director of research in the department of voice communication and music acoustics

1991 - 2001

head of the electro-acoustic music course

appearances as a live performer with self-developed instruments, most recently with the cyber-instrument SensOrg (cockpit + sentograph)

guest lecturer in Sorrento, Genoa, Padua, Helsinki, Vienna, Paris, Rome, Stuttgart, Berlin, Hamburg, Bonn, Amsterdam, The Hague, Utrecht, Beijing, Taipei, Hong Kong, Aarhus, Boston, etc.

numerous publications on visualizing information for computer music environment, for interaction between music and computer choreography, interactive live electronics and real-time compositions

Performances (Selection)


ISCM World New Music Festival


ISCM World New Music Festival


ISCM World New Music Festival


ISCM World New Music Festival


ISCM World New Music Festival

Budapest Autumn

Bourges Electroacoustic Music: International Festival "Synthèse"

Festival des Arts Electroniques Rennes

Intermusica Padova

Kasseler Days: "New Music at the Church"

Musica Verticale Rome

Nuremberg Organ Week

Pro Musica Nova Bremen

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Kulturhuset Stockholm

Institute for Royal Concerts Stockholm

Nuremberg Organ Week

Kassel Music Days: "New Music at the Church"

Polish Radio Warsaw

Studio UPIC Massy


PeriodAwardCompositionAwarding Organisation

International NEWCOMP-Competition for Computermusic: First Prize


Ars Electronica Award Linz


professional title of "professor"

Bourges International Electroacoustic Music Competition: awards

numerous scholarships and promotional prizes (e.g. from the Alban-Berg-Foundation and the Royal Swedish Music-Academy)

Description of Style

As a composer Ungvary was influenced by Györgi Ligeti, Iannis Xenakis and the Swedish computer music pioneer Jan W. Morthenson.


Tamas Ungvary, 1995


Ungvarys intention is to create music, that evokes an orchestral sound without the use of traditional musical instruments, but also without imitating the usual orchestra instruments. Many of his works originate from the tension between statics and dynamics of the sound material. Whenever Ungvary combines traditional instruments with computer sounds, he often directs the electronic versus instrumental sounds from a mergence into a supplementation. Furthermore, Ungvary tries to provide the player with a sense of freedom through strange notations, but at the same time tries to force him to a very well-defined textual, structural and musical style and expression. Ungvarys special interest is the exploration of the possibilities which are able to solve the obvious communication problems between computers and humans and to develop means of interpretation that already exist in the instrumental music. For this reason, he developed his own computer languages (compositional computer languages), used and designed new input devices with which he tries to solve the mentioned problem in his compositional works.


Choice from reviews


My simultaneous preoccupation with displaying problems of human movement (choreographic notation) and the desired communication between sound motion and physical motion systems (choreography) has updated the sonographic representation. [...] If the sonogram is the image of music, then why can't a part or a region be removed, which fits the range of an instrument, and then overlaps this sonogram with a five-line system as a guideline. It shows immediately [...] that the visual information is too much for one musician. It is simply "black", no clear shape can be detected. This is why I have developed a new program, which filters the original sonogram and displays only the strongest elements. The picture is then less complex. The musicians don't have to consider the visual designs as notes, but as shapes, directions in various areas - in the pitch area, the volume space and in the tone colour room of their instruments. In 'DIS-DANCE' - my first work with this notation - I combined a chamber orchestra with the sounds of electro-acoustic music, from which the notation emerged. In 'SONO-LOGOS', a duo for a keyboard instrument and a melody instrument, I let this notation work autonomously on a musical-graphic level. [...]


Tamas Ungvary, in an interview with Dieter Kaufmann, in: "DIS-TANZ. Die Entwicklung einer neuen Notation als Medium von Analyse, instrumentaler Animation, Choreographie und intermedialer Kommunikation", in: Musik &. - Wien 1992, S. 168, 171, 173ff.

Press Reviews


Interaction No. 2
[...] A masterpiece ... I have played and discussed this composition with many of my music synthesis classes at the Berklee College of Music. In every case, it literally blows them away. Adjectives they use to describe the experience of the piece range from "raw" to "brutal" to "savage". My own word description of Interaction No. 2 is "brilliant"! [...]

Computer Music Journal Vol.14, No.2 (Richard Boulanger)


9. September 1980

Akonel II.
[...] a spirited click of colours [...]

Svenska Dagbladet (Carl Gunnar Åhlen)


18. May 1979

[...] Music with gigantic drama, colossal speed, relentless rhythmics. A masterpiece. [...]



7. November 1978

Basic Barrier
[...] creates tension from the contrast of light, playful resolved, colorful characters and massive, often distorted blocks [...]

Westdeutschen Allgemeinen Zeitung (Klaus Kirchenberg


5. June 1978

Traum des Einsamen
[...] pleasantly unconventional [...]

Neue Zürcher Zeitung

Performer of (Composition)