Edgar Varèse
Poème électronique (1958) - 12'
Ambisonic spatialization
Tommaso Giunti, Andrea Gori and Claudio Marcozzi, project and performing
LEMS (Electronic Laboratory for Experimental Music of the Rossini Conservatory)
This is an ambisonic reconstruction/interpretation of the audio component of what is considered the first multimedia show written by Edgard Varèse (with Le Corbusier and Iannis Xenakis as co-authors and designers) and performed during the world exhibition in Brussels in 1958 inside the famous Philips pavillon.
The original CD recording was dissected into many sound objects and reproduced with the ambisonic technique. The spatialization algorithm is entirely designed with Csound and allows you to move each sound object both automatically and/or manually. A local network of four laptops (one master and three slaves) allows three performers to exchange information on spatialization and timing parameters via OSC protocol. The Poème will be preceded by an extended version of “Concrete PH” (I. Xenakis) as in the original performance.
The whole project was developed at the LEMS (Electronic Laboratory for Experimental Music) by a group of students attending to the electronic music course at the G. Rossini Conservatory of Music in Pesaro (Italy) under the supervision of Eugenio Giordani.
Biography
Edgar Varèse
(December 22, 1883 – November 6, 1965) was a French-born composer who spent the greater part of his career in the United States.
Varèse's music emphasizes timbre and rhythm. He coined the term "organized sound" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of "sound as living matter" and of "musical space as open rather than bounded".He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural phenomenon of crystallization. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?".
Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic media for sound production, and his use of new instruments and electronic resources led to his being known as the "Father of Electronic Music"[citation needed] while Henry Miller described him as "The stratospheric Colossus of Sound".
Varèse actively promoted performances of works by other 20th-century composers and founded the International Composers' Guild in 1921 and the Pan-American Association of Composers in 1926.
Tommaso Giunti, Andrea Gori and Claudio Marcozzi
are students of the three-year course in Electronic Music at the Rossini Conservatory of Music in Pesaro and collaborate regularly in many of the production and research projects of LEMS (Electronic Laboratory for Experimental Music of the Rossini Conservatory)
Enrico Francioni
Cluster I (2011) - 4'30”
For double bass, live electronics and fixed medium [Quadraphonic]
Enrico Francioni, one-man-performance
“Cluster I” for double bass, live electronics and support sounds (quadraphonic) is to be considered as one of the possible versions of Cluster, a composition that can also be interpreted with one, or more usual instruments as chordophones, aerophones, percussion and electrophones, also in combination and double bass.
The work can be seen as the construction and / or fragmentation (in time and space) of textures and sounds that form more or less rarefied agglomerates of sound (or indeed clusters) and that elects the perfect fourth interval as the protagonist .
All the support sound material was derived from a single double bass sound treated with various processing techniques.
Biography
Enrico Francioni
Enrico Francioni graduated in Electronic Music and Double bass at the Conservatory "G. Rossini" in Pesaro.
He is the author of chamber instrumental music, musical theater, electronic music, didactics, writings of musical interest and generative code written with Csound for the
App SOLO [Nr. 19] dedicated to the homonymous work of K.Stockhausen.
His works have been selected and executed at: Festival cinque giornate (CMC, Milano-Italy), C.I.M. (LaBiennale, Venezia-Italy), VoxNovus 60x60 and UnTwelveMix, EMUFest (Roma-Italy), ICMC (NYC), Bellagio Festival (Italy), Sguardi Sonori and DI_stanze (Foligno-Italy), Estudio de Musica Electroacustica (Montevideo-Uruguay), Acusmatiq 9.0 (Ancona-Italy), Suoni inauditi (Livorno-Italy), Festival di musica contemporanea 2015 (Cagliari-Italy), International Prize for Non-Conventional Score Music Writing (Lucca-Italy), Csound.30 (Maynooth-Ireland), International Csound Conference (Hannover - Boston - St.Petersburg - Montevideo), BASS 2010 and 2018 (Berlin-Germany and Lucca-Italy), 15th International Music Theory and Analysis Conference-GATM2018 (Rimini-Italy).
He has dedicated himself to teaching years and has been a professor of Contrabass at the Conservatory "G. Rossini" in Pesaro.
Anthony Di Furia
Piano Selvatico (Wild Plane) (2017) - 10'
Fixed Medium Ambisonic
Synopsis
The timeline lives in an infinite dimensional sound space, inhabited by zones of temporal suspension. From this timeline, three different sites come to life in the Piano Selvatico (Wild Plane). The first is made of the time frames of living reality, a simple point of view on sound moments extracted from the soundscape. In the second, these living moments encounter imaginary sounds, designed to sculpt the surface of reality, shaping it along different profiles. In the third site, the foundations of both reality and imagination fall apart, and time is crystalized. The zones of temporal suspension emerge, populating new dimensions in the sound space. Time sublimates trying in vain to calm disorder.
Description
The work “Piano Selvatico” is the result of three residencies, between the spring of 2014 and the summer of 2016, within the trans-disciplinary research program “Transformation”, funded by Pianpicollo Selvatico: a newly established home for research directed by Alice Benessia, a farm for experiments in the arts and sciences in the wild rural area of Alta Langa, in the northern Italian region of Piemonte. The composition here presented is a synthesis of Piano Selvatico, in which the farm and its surroundings are explored in three steps: 1) the description of the original sound reality, recorded in different seasons during the creation of an extensive sound archive, 2) the interaction between the soundscape and a layer of synthetic textures, and 3) the complete transformation of the soundscape.
Biography
Anthony Di Furia
He began playing the drums at age 4, piano at 6 and violin at 11. In 2004 he graduated in guitar, theory and arrangement (Percentomusica of Rome). He studied composition at the Conservatory of Fermo and Electronic Music at the Conservatory of Pesaro with Eugenio Giordani and David Monacchi.
Bachelor’s degree cum laude in Music and New Tecnology - Conservatory of Pesaro. He approaches the world Unix/Linux and Free Software thanks to the friendship of the
founders of ILDN - Italian Linux Distro Network.
He worked as assistant to Ambisonics Spatialization in the multimedia performance “De Divina Proportione” - Simone Sorini and David Monacchi, as Sound Design with Stefano Vinciarelli in the Theater Show “La fuga” (Escape) at the presence of author Gao Xingjian, Nobel Prize 2000.
In 2012, in partnership with Eugenio Giordani, Anthony realised a Live Electronics for the conference show “Bestiario filologico e fantastico” - Ermanno Cavazzoni.
In May 2014, he takes part in the FKL SOUNDSCAPE MEETING in Florence with Rad’Art Project and he plays in the Linux Audio Conference 2014 - ZKM in Karlsruhe, Germany.
In August 2014, He works on the his project “Beyond the human atom” for a site-specific residency in LA CHAMBRE BLANCHE (Quebec City) - exchange program with the artistic center Rad’Art located in Italy.
Most recently he worked as analyst and software developer for the project “Fragments of extinction” by David Monacchi.
Carlo Fatigoni
Vesperbilder (2019) - 15'
Sacred movie + digital sound [Stereo]
Vesperbilder is a film dedicated to the sacred.
His inspires music was recorded internally of a cave Church in Matera - Italy
in 2011. The sound material (my voice and that of Morena Tamborrino)
was elaborated in the studio (Density - Pulsaret)
Biography
Carlo Fatigoni
Carlo Fatigoni is a sculptor of sounds, words and visions.
He is the creator of the "Sguardi Sonori" festival, and in 2018 he curated the first historical exhibition of Italian soundart entitled "When Sound Becomes Form" at the Maxxi Museum in Rome.
Pink Floyd/James Cosby
On the run (1973/2019) - 5'
Live electronics & synchronised video [Stereo]
James Edward Cosby, iVCS3 and Controller
During the recording of the now iconic 1973 Pink Floyd album “The Dark Side Of The Moon”, immortalized for posterity in Adrian Maven’s film “Live In Pompeii”, the band were disillusioned with one particular “guitar jam” track entitled “The Travel Sequence” and were searching for something more suitable to replace it. After acquiring a new EMS Synthi AKS guitarist/vocalist David Gilmore was experimenting with the sequencer which inspired bassist/vocalist Rodger Waters to enter a new set of notes and thus the sequence for “On The Run” was born. In addition to the Synthi AKS there were a couple of VCS3’s available and so with experimentation abound, the band set about creating synthesised vehicle sounds, explosions and sound effects to accompany the driving sequence. Waters also had the idea of recording the answers to specially designed questions posed to various members of the road crew and studio staff that they might be included at various poignant points of the album and to enhance this idea producer Alan Parsons, added an airport announcement recycled from his own earlier release “Sea Lions in the Departure Lounge”.
For this performance of “On The Run”, programmer/sound designer/musician James Edward Cosby uses only the apeSoft iOS app “iVCS3” to recreate all the synthesised sounds from the original and adds something extra to add an Italian flavour… The sequence and sounds are both triggered live, and synchronised in a video backdrop which James generated from original film footage used by Pink Floyd on a live tour, encased in a recreation of the iconic Hypgnosis prism graphics used on the original album cover. The vocal samples used are all original samples extracted from the original recording.
The “iVCS3” iOS synthesiser app is a faithful digital recreation of the 1969 EMS VCS3 “Putney” Synthesiser currently residing at the Electronic Laboratory for Experimental Music, Pesario, Italy.
“iVCS3” is programmed in CSound by Eugenio Giordani and Alessandro Petrolati (apeSoft).
Biography
James Edward Cosby
born. November 1964, N.Ireland.
James has a long standing background in design, after majoring in Mathematics, Physics and Technical/Graphic Design he began his career as a game designer primarily on consumer Z80 computer systems subcontracted to the global games companies of Ocean and US Gold with many titles to his credit including Hollywood Film and TV tie-ins. This work encompassed not only Z80 Assembly Programming but also Graphics and Sound design. In addition to the creative, he is a professional musician and prominent Sound Designer on the emerging Music Production scene on Apple's iOS platform.
Jean-Basile Sosa (*)
Quelque chose noir (2018) - 10'29"
For soprano and fixed medium [Stereo]
Laura Muncaciu, soprano
« Quelque chose noir », mixed music for soprano and electronics (fixed stereo media), is based on
« Rien », short poem which concludes the eponymous book by Jacques Roubaud. This Jacques
Roubaud’s work is focused on death and memories of Alix Cléo Roubaud, wife of the poet.
Like the complex and purified style of the book, I wished to write a «naked » music, without effects.The relationship between the text and my composition is deeply allegorical.
In compositional and musical terms, the poem is used in a discontinuous way, often considered
like incisions, sliced impulses or interrupted sentences. However, the spiritual sense of « Rien » exert its influence on all the music. The vocal part’s notation is inspired by the proportional music
notation. The score of "Quelque chose noir" is based on a simple audio and video media which is necessary for rehearsals and live performance of the piece too.
Electronics parts has been realized with Csound, regarding to the same compositional scheme I use since 2016-2017: in max environment (as a control interface), Antescofo langage is used to
sequence Csound events, and as an editor of Csound scores as well.
Biography
Jean-Basile Sosa
Jean-Basile Sosa has dedicated himself to electroacoustic composition in all its singular and protean expressions. His work includes acousmatic, mixed music, film and electroacoustic music as well as music for live performances.
Over the past few years, his work has developed a close relationship with the dance world with numerous pieces being composed for new choreographies. Closely concerned with visual music, he questioned more generally relationships between visual and sound in the artistic field.
With a Master degree in Musicology, Jean-Basile Sosa also has a Master in electroacoustic composition from the CNSMD Lyon (France), under the guidance of François Roux.
Laura Muncaciu (Soprano)
Master’s Degree in Latin and Greek Language and Literature at Babes-Bolyai University of Cluj-Napoca (Romania). Master’s Degree in Opera Singing at ‘G. Rossini’ State Conservatoire of Pesaro (Italy). Italian Master in Opera Singing with Luciana Serra and Gloria Banditelli at the Academy of Theatre Cagli and in Italian Opera with M° Donato Renzetti at the Music Academy of Pescara. Work Experience: Soloist Soprano in Opera Performances, Symphonic Concerts, Chamber Music Concerts and Recitals, independent researcher and public lecturer on musical and vocal topics.
Gianni Della Vittoria
Glitch and spike (2019) - 5'47"
Acousmatic [Octophonic]
Like the title suggests, the composition is made up on a variety of short sounds characterized by more or less harmonic content. Every kind of sound is originated completely by Csound and so no external sound are used. There are different sections with conflicting environments, but with an overall sense of unity provided by a quite clear development of tension that culminates in the second part of the piece. Although the music is straightforward developing, reminders among sections are also present.
The Csound instruments are principally based on a gbuzz opcode for glitches and spikes (no precompiled grain synthesis was used), on a filtered oscilikts for swipe effects and on pluck with particular settings. Much attention has been paid to combine multiple instances of these instruments with varying settings collected by automatic schedulators like schedkwhen in order to control form on a large scale. The final version is for 8 channels.
Biography
Gianni Della Vittoria
Gianni Della Vittoria graduated in piano, composition, elecroacoustic music, musicology, and organ with first-class honours, studying in different high school music from different italian cities (Ravenna, Firenze, Cesena, Pesaro, Bologna).
He was awarded first prize in national organ competitions such as "Città di Viterbo" 2000 (undergraduate section) and "Concorso di Anguillara Veneta" on historical organs.
He is maestro di cappella and 1st organist at the cathedral of Cesena. He conducts also another choir especially dedicated to performing of local popular songs.
His musical works go from solo (organ) to chamber and orchestral repertoire. For the theatre he has written several musicals and specific works, some of which broadcast.
In the field of electroacoustic music he focuses on the creation of software that can synthesize sound and have high level control of compositional gestures at the same time. His CHORALE (Compositional Hyper ORganized ALgorithmic Environment) was presented at the XVII Meeting of Musical Computer Science in Venice (Biennale di Venezia 2008).
He is regularly invited in organ festivals, especially in Europe and the United States.
He teaches Music Technologies at the public music high school in Forlì.
Joachim Heintz
The Grief of the Fishes (2019) - 12'
Acusmatic [Octophonic]
My dear teacher Younghi Pagh-Paan reads the testimony of the Jeju citizen Do-hwa Kang who remembered 2004 what happened more than fifty years before, in the so called Jeju Incident 1948.
She tells one of the countless stories of suffering, violence and injustice which happened in theses times on this island.
Younghi’s moving reading, shadowed and put into different distances, is the base of this piece. It is accompanied by soft and simple sounds, mostly pure but individually shaped sine tones.
The title “Grief of the Fishes” refers to a short story of the chinese book Zhuangzi. In it, Zhuangzi and Huizi are standing on a bridge. Zhuangzi looks down into the water and says: Look how the little minnows are coming out and swimming around. This is the joy of the fishes! — Huizi replies: You are no fish. How can you know? — After some words to and from, Zhuangzi explains: I know it because I see it from the bridge here.
Biography
Joachim Heintz
Joachim Heintz, composer and writer, studied first literature, then composition with korean composer Younghi Pagh-Paan. Important was also his membership in a performance group, the Theater of Assemblage Bremen. For Csound, he collaborated with others in the Csound FLOSS Manual and contributed some other stuff, in particular for CsoundQt. Lately he focusses on contacts between music and spoken word, for instance in improvisations with his live-electronic program ALMA.
Keith Emerson
Abaddon’s Bolero (1971/2017) - 8' - [Stereo]
Tribute to Keith Emerson and Bob Moog mood ensemble:
Eugenio Giordani, Hammond/Trumpet/Tuba/Solo Final Lead
Alessandro Petrolati, Piccolo/Synth1/Triad Lead
Pierfrancesco Ceregioli, Strings
Elena Alessandra Petrolati, Tuba
Andrea Petrolati, Bass
Alessandro Guerri, Drum Set
Transcription and arrangement, Eugenio Giordani
This is a live reconstruction of one of the most famous composition written by Keith Emerson and for this reason we consider this work as a little tribute to this great musician and keyboardist.
This original piece was recorded in studio as last track of the album Trilogy with overdubs technique by the legendary ELP trio and almost never reproduced live for the presence of many instrumental-like sounds produced with the Moog synthesizer, in addition to the drums and the electric bass.
We tried to reconstruct the song in its original version using the virtual synth "Mood" (an extended emulation of the MiniMoog Mod. D) which was made in the form of an app for iOS by Eugenio Giordani and Alessandro Petrolati (apeSoft) entirely written in Csound. We also wish to dedicate this work to the mythical figure of Bob Moog.
The musical score and all the sound presets were written and programmed by Eugenio Giordani while the execution is entrusted to the Mood Ensemble Group. Only drum sounds are played through an external digital drum kit.
The entire composition was realized using solely Csound, both for these sound processing operations and for the graphic control interface, real-time reaction and spatialization.
Biography
Eugenio Giordani
Eugenio Giordani (Pesaro-Italy) graduated in piano and electronic music at Conservatorio Rossini in Pesaro. In 1980 he graduated in Electronic Engineering at University of Ancona. He began to use Music 11 and Csound in the eighties. Since 1980 he is teaching Electronic Music, directs the LEMS (Laboratorio Elettronico per la Musica Sperimentale) and the Department of Technologies and New Music Languages at national Conservatory of Music G.Rossini in Pesaro – Italy.
As composer, with the piece “Voicings”, he obtained an honorable mention at the XI International Music Competition of Bourges in 1989 while with the composition “Solaria”, he won the third absolute prize at the International Competition of Newcomp and obtained the final selection at the XVII International Music Competition of Bourges.
He participated in 1997 to the synthesis courses at Symbolic Sound Corporation (Illinois) and designed the "Euverb" reverberation algorithm included in the basic Kyma software presets.
He is co-author of an international patent concerning the design and construction of “Physis Piano”, a totally physical model digital piano.
His recent artistic productions are placed in the field of music for the video-art and at the same time he is collaborating with “APEsoft” as music app developer with Alessandro Petrolati (“Stria”, “iVCS3”, and “Mood” synthesizers).
Eugenio Giordani is also a jazz composer and performer.
Alessandro Petrolati
Alessandro Petrolati studied to the Institute of Art in Cagli and at the G. Rossini Conservatoire in Pesaro where he graduated in Piano and in Electronic Music (Valentini / Giordani). He has studied Chamber Music with Irwin Gage and Massimiliano Damerini, and Italian Opera to the Pescara Musical Academy with Donato Renzetti. He has participated to courses of Csound programming held by Gabriel Maldonado.
He has created installations and Theatrical works as: Ex Oedipo (Movimento Ultimo 51° Sagra Malatestiana, Rimini) and the ballet inspired to the Futurism "Dynamism of a dog at the leash" (Town Theatre Cagli).
Performances of his electroacoustic compositions at the 'Museum of Contemporary Art' (Aquila), 'Festival of the Independent Cinema' (Rome), 'Experimental Theatre' Ancona, ‘State Auditorium Roma', 'Terra Fertile' L'Aquila, 'Biennale d'Arte Contemporanea' Porto Ercole, 'Palazzo Reale' Milano, 'Mostra del Cinema' Pesaro (2004-05 edition), Out of Range' 2007-09, '91Mq Berlin' Working Week February 2009, 'Infinite Spaces’ Roma, Piazza del Popolo with Maestro Ennio Morricone and astronaut Roberto Vittori, Hydrophonia 2009 (Sguardi Sonori and Science Festival Genova with Jana Winderen, Kim Cascone and Domenico Sciajno), ICSC 2015 in San Petersburg.
The composition ‘Turnaround' received an honourable mention at the 'XXIII Luigi Russolo International Competition'.
Active in the IT field since 2001, when he released the open-source project: 'Granular Synthesis Density/Pulsaret' and in 2008 the Sound Kit AudioDrome presented at the CIM XVII in Venice.
He has taught 'Sound Design' at the Academy of Fine Arts in Urbino (2007-2014) and at the University of Macerata (2008-2011).
In 2011 he founded Ur.L.O. (Urbino Laptop Orchestra) with the artist Carlo Fatigoni, which was the first Italian Orchestra of Computers with which he holds an intense activity for the dissemination of Electronic Music among the youngest and more than 30 concerts in Italy. Among the most important dates: Acusmatiq in Ancona, Teatro Valle in Rome, Auditorium in Foligno, Perugia Fanta-City, Planetarium in Rome with Ennio Morricone etc. ...
In 2012 he founded apeSoft and created specific apps for Apple devices (iOS), all dedicated to Sound Design and available on the Apple Store, most of them using Csound. The apeSoft has carved out a considerable space in the world of iOS Musicians. Currently, it has a circulation of more than 100,000 users, from all over the world. These instruments are regularly used for Sound Design, Cinema and Electronic Composition.
He has given lectures in the UK: "Code Control" Max festival in Leicester and Russia: ICSC (International Csound Conference) in St. Petersburg.
He also teaches ‘Piano Tuning' at the Rossini Conservatory in Pesaro.
Pierfrancesco Ceregioli
Pierfrancesco Ceregioli was born in Macerata (Italy) on 25-05-1993, he began studying classical piano, music theory and solfeggio at the age of five with the music teacher M°Genni Rapaccini. At fourteen (in parallel with classical studies) he devoted himself to techniques of the Hammond organ and vintage keyboards with M° Fabio Verdini, in the meanwhile he plays in various rock/blues bands and with one of them wins in 2012 the national competition "Music Village".
Also in 2012 he graduated with excellent grades from the "G. Galilei" High School in Macerata (Italy). He graduated in Jazz Piano at the "G. Rossini” Conservatory of Pesaro (Italy) in 2016, where he studies and deepens the techniques of piano jazz language, of jazz composition and arrangement with the teachers Stefania Tallini , Maurizio Rolli, Ferruccio Spinetti, Gian Marco Gualandi, Marvi La Spina, Oscar Del Barba, Fabio Crescente; simultaneously taking an interest in the synthesis sound and experimental music. In 2017 he graduated from the specialization course in "Music Instruments Engineering" at Università Politecnica delle Marche (Ancona, Italy). Now he is enrolled at Electronic Music department at the "G. Rossini” Conservatory of Pesaro (Italy) where he studies electronic music, contemporary music, soundscape composition, programming and synthesis with the teachers Eugenio Giordani, Carmine Emanuele Cella, David Monacchi, Pasquale Mainolfi. In this academic year 2018/2019 he is an Erasmus Exchange Student at the "Conservatorio Superior de Música J. Rodrigo" in Valencia (Spain) where he studies electronic and contemporary composition and performance with the teachers Gregorio Jímenez, Carlos David Perales, Pedro Vicente Caselles Mulet, Vicent Adsuara, Jesus Santandreu, Voro García. Now he is living and working as musician between Italy and Spain. He participates in numerous seminars and master-classes held by top personalities relief in the international panorama of electronic music and jazz like John Chowning, Hildegard Westerkamp, Barry Truax, Walter Branchi, James Dashow, Alessandro Petrolati, Scott Hall, Enrico Cosimi, Gianni Giudici, Andrea Avena, Alberto Marsico, Massimo Morganti, Marcella Carboni, Federico Solazzo, Emilio Marinelli, Marco Postacchini, Simone La Maida. He carries out an intense didactic and concert activity in jazz, in fusion and in the music contemporary/ experimental as pianist, keyboardist, arranger, composer and sound designer also participating in important contexts in Italy and Spain such as the Festival “Popsophia: Festival del Conteporaneo” (Marche, Italy), Acusmatiq XII (Ancona, Italy), “Mar i Jazz Festival” (Valencia, Spain), JazzIt Festival (Pompei, Italy). In Summer 2018 he participated in the Umbria Jazz Clinics in Perugia held by Berklee Boston College of Music. Occasionally he covers the role of accompanist pianist in ensemble of classical music. He also works as recording technician and sound engineer in the recording studio and auditorium of the Conservatory “J. Rodrigo” in Valencia (Spain). He plays regularly in jazz ensemble, big bands and other types of orchestras. From 2015 he started working as an official pianist on the famous luxury train "Orient Express".
Elena Alessandra Petrolati
She is completing her studies at the Raffaello High School in Urbino and she is constantly involved in theatrical and musical projects.
Andrea Petrolati
Born in Cagli in 1981, he studied Violoncello with Di Stefano and Casadei at the G. Rossini Conservatory in Pesaro. He has carried out an intense orchestral activity of the famous "Italian Operetta Company", he has also collaborated with various local Orchestras such as the OSP etc ...
Since 2015 he has been a chief technician at the prestigious Shulze Pollmann Pianos factory, taking care of the complete assembly of vertical pianos. The Shulze Pollmann Pianos factory are the only upright pianos produced in Italy.
He also works as a private piano-tuner and collaborating with the Fabrizio Santori company.
Alessandro Guerri
Alessandro Guerri started to study music at nine years old,attending the drum course of his home town's music school. Since 2004 he played with several experimental noise projects in Italy and abroad,recording and producing official releases
distribuited in Europe and overseas. Between 2014 and 2016 he releases three electronic music Ep supported and distributed from italian and international indipendent labels: _"La Sonida Repetita",Corresponding Positions (Berlin),April 2016 _“waragi”,Concrete Records (Rome), February 2015 _“# of matches”, Soluxion Records(Bologna/Berlin), April 2014 In March 2015 he got his electronic music degree at Conservatoire "G.Rossini" of Pesaro with his thesis "Projectual Strategies for an Interactive Software-Structuring Relationships between Musician and Algorithm",presenting his own project Agumenta,an interactive musical software for the augmented musical performance. Between 2015 and 2017 he curated sound installations for art hexibitions organized to present the book "La Pantera Sotto il Letto" of Mara Cerri and Andrea Bajani,edited by Orecchio Acerbo. In February 2018 he got his electronic music master degree at "G.Verdi" Conservatoire of Milan with a thesis based on developing audio processing techniques through machine learning and pattern recognition algorithms.
* Call for Music, selected Composer