Execution and interpretation of electronic music in concert

Age limit: 35 years

Lessons start: July 19 / 3:30 pm

In collaboration with SAMPL (Conservatorio C. Pollini, Padova) and with the Computational Sonology Center (CSC) at the University of Padova

The Seminar is open to composers, arrangers, performers, and interpreters of electronic music and to sound engineers who intend to deepen their understanding of the theoretical elements, techniques, and creative abilities related to the realisation of live electronic concerts.

a. Composition
For the admission exam candidates must present the parts of two recent compositions in electronic music.
The parts must arrive at the Secretary’s office along with the application form and the application-examination fee by May 31st.
The Accademia Chigiana will communicate to all candidates the result of the selection made by the examining commission.
It is possible to attend the Seminar as an auditor.
The Seminar will be held in a laboratory style with daily meetings.
Active students are required to create an original electronic work.

b. Execution
For the admission exam candidates must present the technical-executive project of one of the following three electronic musical works, realized in such a way that the candidate is the only performer of the electronic part:
Gerard Grisey Prologue (1976) for viola and electronics, Ricordi Ed., 1992 R2248;
• Luigi Nono (1924 – 1990) A Pierre. Dell’azzurro silenzio, inquietum (1985) for double-bass flute, double-bass clarinet and live electronics, Ricordi Ed. score 133943.
• Karlheinz Stockhausen (1928 – 2007) Solo (1965/66) for melody instrument with feedback, score UE14789.

Alternatively, it is possible to present a piece for solo instrument and live electronics of a well-known author chosen by the candidate himself.
The executive technical project must be finalized for execution in a hall of about 150 places and of indicative dimensions of m 50 x 10 x 4-5 (h).
Perform the project using what you need from the following audio system:
• 8 independent amplification channels with 8 full-range loudspeakers positioned on the boom at variable height and orientation
• 1 subwoofer speaker positioned on the ground with independent amplification channel
• wide variety of dynamic condenser, proximity, radio, microphones with rods and various supports
• 1 analog or digital mixer of your choice
• 1 reverb generator of your choice
• 1 personal computer with multichannel audio interface and MIDI controller of your choice, software chosen by the candidate (preferred: Max / MSP, PD, Supercollider, Csound, or Faust, also interconnected with each other)
• power supply, audio and power cables, technician for installation support.
The project must include:
• data sheet
• diagram of the connections between the various devices and their location in the Hall and / or in neighboring environments
• detailed configuration of the mixer (inputs / outputs, internal programming)
• executive environment created by the computer using the chosen software; description text of the actions that the performer must perform during the performance possibly accompanied by additional instructions inserted in the score.

The Seminar is organised with lessons on theory and practical laboratories, and includes the participation of active students in the electronic parts of the following concerts:

• July 22
Alvise Vidolin and Nicola Bernardini, live electronics
Tiina Osara, action painting
Edgar Varèse Le poème électronique
Iannis Xenakis La legende d’Eer

• July 24
Anton Gerzenberg, piano
Antonio Caggiano, percussion instruments / Alvise Vidolin and Nicola Bernardini, live electronics
Iannis Xenakis Herma for piano
Georg Friedrich Haas Ein Schattenspiel for piano and live electronics
Giacinto Scelsi Aitsi for piano and live electronics
Rebecca Saunders Crimson for piano
Iannis Xenakis Oophaa for harpsichord and percussion instruments
Kaija Saariaho Jardin Secret II for harpsichord and magnetic tape
Iannis Xenakis Komboï for harpsichord and percussion instruments

• July 27
Christian Schmitt, oboe
Antonio Caggiano, percussion instruments
Chigiana Percussion Ensemble
Alvise Vidolin and Nicola Bernardini, live electronics
Giorgio Nottoli, sound direction
Iannis Xenakis Dmaathen for oboe and percussion ensemble
Giorgio Battistelli Anima for xilomarimba, marimba and bass drum
Giorgio Nottoli Trama pulsante (world primiere) for bass drum and electronics
Kaija Saariaho Six Japanese Gardens for electronics and percussion instruments
Mario Bertoncini Tune for 5 hanging plates

• July 29
Monica Bacelli, mezzosoprano
Roberto Fabbriciani, flute
Ivo Nilsson, trombone
Alvise Vidolin and Nicola Bernardini, live electronics
Nicola Bernardini Concertino for live electronics obbligato and a monody instrument (world primiere)
Luciano Berio Altra voce for flute, mezzosoprano and electronics
Henri Pousseur-Roberto Fabbriciani Zeus joueur de flûtes for solo flute
Iannis Xenakis Keren for trombone; Orient-Occident for solo tape.

The theoretical lessons will deepen the following problems:
- the temporal eco-sustainability of musical works with electronic parts
- the choice of technological equipment suitable for sustainability
- the adaptation of works from the past made with technologies that are no longer available
- the many semiographic notations used in the reading, interpretation and reconstruction of the electronic parts
- the use of scripting and automation systems for the systematic realization of electronic scores of high complexity
These problems present open aspects of research that will be exposed, underlining the components of research and cognitive investigation necessary for deeper analyses of past and future works.

Beyond these themes of a general nature, the Seminar will explore several elements of musical composition connected to the figure of Iannis Xenakis, to whom the Chigiana International Festival 2019 is dedicated. In particular:
- the use of stochastic instruments suitable to musical composition;
- the elaboration of a direct relation between music and architecture by means of purpose-designed informatics tools (UPIC, IanniX).

Lastly, in the laboratories the problems of shooting, processing and spatialization of live sounds will be discussed, also as a function of the documentation work to be carried out in post production. Through the preparation, tests and performances of the pieces with electronics listed above, different execution techniques will be studied, using the electroacoustic system of SaMPL based on d & b audiotechnik amplification, a Yamaha DM1000 digital mixer and multi-channel spatialization in otofonia.