ELECTRONIC COMPOSITION AND SOUND DIRECTION

With the participation of Roberto Fabbriciani (flutist in residence)

In collaboration with the Centro di Sonologia computazionale of the University of Padova and with SaMPL (Conservatorio Pollini, Padova)

Age limit: 35 years
Lessons begin on July 19/ 3:30 p.m.

The Course is intended for two categories of candidates:
a) Composers who have already earned a diploma and who are interested in including electronic parts in their original compositions;
b) Performers and artists of electronic music who have earned a relevant diploma and who intend to specialise in the performance of musical works with electronics from the repertoire of the past seventy years, and to sound engineers who have already earned a diploma in electronic music who intend to enhance their knowledge of the technical and creative elements of recording, elaboration and spatialization of live sounds and in post production.
A main goal of the course is to perform, in the context of public concerts, pieces for traditional and electronic instruments either live or with fixed media, also using motion capture to make the interaction between the performer and the processes of electronic elaboration more gestural and more musical. The programme of these concerts will be chosen so as to apply diverse techniques and thus provide a broad overview of electronic music performance in historic terms as well as with a view toward the future.

a) Composition
For the entrance examination, candidates must present the scores of two recent compositions with electronic music parts. Scores must reach the administrative office of the Accademia Chigiana along with with the application and with the entrance-examination fee no later than June 10.
The Accademia Chigiana will notify all candidates as to the result of admissions process conducted by the examining commission.
The course may be attended by auditors.
The course will have a workshop format with daily sessions.
Full participants will be required to create the electronic part of their own original compositions.

b) PerformanceFor the entrance examination, candidates must present a technical-performance project for one of the three following musical works with electronics, designed so that the candidate will be the sole performer of the electronic part:
Karlheinz Stockhausen (1928-2007) Solo (1965/66) for melodic instrument with retroaction, score UE14789;
Pierre Boulez (1925-2016) Dialogue de l’ombre double (1985) for clarinet/first, on stage, and clarinet/second, recorded, score UE18407; the lighting project is excluded;
• Luigi Nono (1924-1990) A Pierre. Dell’azzurro silenzio, inquietum (1985) for contrabass flute, contrabass clarinet and live electronics, score Ricordi 133943.
The technical-performance project must culminate in a performance at the Teatro dei Rozzi in Siena (a theatre “all’italiana” with a parterre of some 200 seats; the audience will be seated only in the parterre; a map and technical diagram of the theatre may be found at the following link http://www.comune.siena.it/La-Citta/Cultura/Teatri/TEATRO-DEI-ROZZI) using the following audio system:
• 6 independent channels of amplification with 6 full-range loudspeakers mounted on pole-stands at variable heights and directions;
• 1 subwoofer loudspeaker located on the ground with an independent channel of amplification;
• a wide range of dynamic condenser microphones, with proximity, radio, along with pole-stands and various supports;
• 1 mixer, analogue or digital, by choice;
• 1 reverb generator, by choice;
• 1 personal elaborator with multi-channel audio interface and MIDI controller, by choice, Max/MSP software version 6 or 7;
• electric power outlets, audio and power cables, technician available to assist in installation.

The project must include:
• specification sheet;
• diagram showing connections between the various devices and their placement within the theatre;
• detailed configuration of the mixer (inputs / outputs, internal programming);
• performance environment created on a computer with the Max/MSP programme (version 6 or 7) using only objects provided by Cycling ’74;
• text describing the actions to be carried out by the performer during the performance, possibly providing supplementary indications within the score.

During the Course there will be two performance workshops with public concerts:

July 23
Stefania Radaelli and Maria Grazia Bellocchio, piano
Karlheinz Stockhausen (1928-2007) Mantra (1970) for 2 pianists with wood blocks and antique cymbals, electronics (2 sinusoidal wave generators, 2 ring modulators, stereophonic fixed media reproducer, 6 microphones, 2 x 2 loudspeakers, mixer, sound director), with a rehearsal on 22 July;

July 28
Roberto Fabbriciani, flutes
Fabio Nieder (1957) 27 Haidenburger Vogellaute. Isoformen (2011/15), for piccolo, birdsong and voices elaborated with fixed media, live electronics. Voices of the Thümmel Ensemble, C. Pollini Conservatory of Padua directed by Marina Malavasi: Ignacio Vazzoler, Gian Luca Zoccatelli, tenors; Filippo Bordin, Alex Cerantola, Federico Novarini, baritones; Alessandro Colombo, Luca Sozio, Gabriele Taschetti, basses. Production SaMPL 2015. [20’]
Luigi Nono (1924-90) Das atmende Klarsein, fragmente (1981-86), for bass flute, fixed media and live electronics [18’]
Aldo Clementi (1925-2011) Passacaglia (1988), for flute and tape. Octophonic tape, production SaMPL 2011 [12’]
Nicola Sani (1961) More is different (2014) for hyperbass flute, octophonic tape, motion capture and live electronics. From the work Chemical free (?), production SaMPL 2014. [18’ 30”]

Rehearsals and workshops with Roberto Fabbriciani starting on 25 July.