Marijana Janevska
Purusha (2019) - 4'17"
Fixed medium [Octophonic]
This composition is inspired by the duality and the interaction between the material and the subtle. Purusha is a central term in Indian mythology and philosophy and is translated as man, human, or an original soul. At the beginning of the piece, a very quiet, almost imperceptible, blurry, unstable and aquarel-like textured melody begins to slowly unfold. Appearing and disappearing, always changing, always moving… It begins in the highest register and slowly transforms itself throughout the piece. Very subtle changes of tone color are explored in this process, combining sine waves, FM and Granular Synthesis. A contrary percussive material appears, sometimes interrupting the first one and sometimes pushing it for further development. Both materials are mirrored and develop inversely throughout the piece. They arise from and share the same core.
Biography
Marijana Janevska
Marijana Janevska was born in 1990 in Skopje, Macedonia. She graduated violin performance and composition at the Faculty of music in Skopje. She is an author of solo, chamber, orchestral, choral and electronic music and her pieces have been recognized and performed on concerts and festivals in Macedonia, Germany, Switzerland, Serbia, Bosnia and Herzegovina, Croatia, Montenegro, Albania and Iran. She is currently enrolled in the composition Master program at the Hochschule für Musik Theater und Medien Hannover under the mentorship of Joachim Heintz, Ming Tsao and Gordon Williamson.
Pinda D. Ho
Parle Do I (2019) - 5'46"
Fixed medium [Hexaphonic]
This work is inspired by how often an idea or behavior of one individual is rejected by another with a simple phrase, “this makes
no sense.” Too often have “sense” become a word of rejection in further understanding differences between individuals; it shuts down the opportunity of knowing and the celebration of diversity. I
am, however, fascinated by the rejected idea’s inner context, as it is a living organism that stands and lives by its own rights within its history and culture. Hence, following this idea, the piece is a practice of using minimal sound sources (a huge bag of Kraft paper) to create as many sounds and gestures with electronic engineering and granular synthesis (GRM tools); the monotone of the original sound
source hence becomes the idea that “does not make sense,” and the processed result becomes the inner organism of the idea in question.
Biography
Pinda D Ho
Pinda is an American born Taiwanese who has lived in Taiwan for most of his life; he is now a composition doctoral student in the University of Illinois at Urbana Champaign and a contract artist for SaliArt Studio, Taiwan. He has studied in Taiwan under Shu-Yin Guo and Chao-Ming Tung, and in the US under Erik Lund, Steve Taylor, Sever Tipei and Scott Wyatt. His pieces have been performed in both the US and Taiwan, participating in festivals and conferences such as EMM, CUBE Fest, ICMC, NYCEMF, SEAMUS, WOCMAT, and others. Pinda is also known as a movement/sound/music improvisor and for his strong interest in experimental art forms such as multimedia installations, modern dance, theater, music improvisation, and cross discipline collaboration. He has great interest in utilizing semiotics and media theory in transforming narratives into musical phenomena and structures, especially folklore religious myths from both ancient and modern Chinese/Taiwan; his heritage as a born American, historical Chinese, and cultural Taiwanese are his main inspiration of composition. In a rare opportunity having a master class with Vinko Globokar in 2014, the old meister asked him a single question, "for whom do you write your music?" This question resonated deeply in Pinda’s self-identity and has thereafter served as a compass for his compositional process.
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Daria Cheikh-Sarraf
To crumble (2019) - 6'56"
Fixed Medium [Octophonic]
We start with stability. Almost static processes. Many colors accompany us, many impressions. We lose the feeling of time. We go from one moment to another without really worrying about it.
The static dissolves slowly, the stability becomes unstable. We crumble and fall apart. See the parts everything consists of. How the parts get damaged, or stay whole. They repel each other like polar magnets. It does not look as if we could put everything back to its original state.
But we can. Not quite as it was at the beginning, but different. It seems to be better, more mature. The stability returns, with all the old and new processes. But it is not static anymore. It has found the form it was looking for.
Biography
Daria Cheikh-Sarraf
Daria Cheikh-Sarraf was born on 19.03.1998 in Hamburg. At the age of six she discovered the art of composing, after she decided that the lessons given by the music class are "boring" and that she wanted to write her own music. At the age of seven she received her first composition lessons which she continued five years later with the composer Burkhard Friedrich.
After graduating from high school in 2016 she was admitted to the Bachelor of Music Composition program at the Hochschule für Musik, Theater und Medien Hannover (HMTMH) and has been studying there with Gordon Williamson, Ming Tsao and Joachim Heintz at the Institute for New Music Incontri.
Dario Casillo
Bollettino di un viaggio ordinario (2013) - 7'30"
Fixed medium [Quadraphonic]
The idea is inspired by the daily experience of being on the train, "La Cumana".
An old train that many commuters use to move from one part of the city to another.
Being on a train is a daily experience for many people, for me it is a moment of reading and reflection.
In a morning full of disruptions and continuous changes of timetables I found myself trying to imagine the impact that the invention of the train had for the people of that time.
The railway network has been an innovation that has literally revolutionized society, perhaps like the web in recent years. Moreover, the train, compared to the silent appearance of the web, is also an incredible sound mass to which we no longer pay our attention. The sound energy on board overwhelms the voices of travelers who think they speak normally while screaming loudly. The voices mix in different tones and volumes, creating together with the sounds of the "Cumana" an incredibly rich sound mass.
Another aspect, less analytical and very subjective, is that in spite of myself I often hear the recurring speeches of the usual users and I was struck by how many feel themselves to be modern slaves, "obliged" to work that takes them away from their true nature and it does not make them happy as our cultural model usually says.
At this point, trying to make the analytical and objective part coincide with the subjective part of my reflections, I wanted to think of the train as a means of alienation.
The concept has been discussed by many philosophers such as Rousseau, Fichte, Feuerbach; with Marx and Engels, the term was used as an economic-political meaning to indicate a situation deriving from the production of material goods and the relationship between the worker and the capitalist. While for Hegel, in the "Phenomenology of spirit" it is the “alienation” from one's spirit, in the capitalist civilization based on labor exploitation.
Starting from this last thought, I wanted that my compositional effort was to "alienate" the material recorded on the train, estranging all this sound mass from its nature for most of the duration of the composition to make it mostly unrecognizable. So, from an aesthetic point of view, the compositional idea is: disintegration, to destroy the semantic character of the sound material to build the sound “other”.
Biography
Dario Casillo
I studied Piano and Electronic Music with A. Di Scipio and E. Martusciello at the Conservatory of Napoli, Italy.
I am completing the master's degree in Composition_site-specific at Conservatory of Salerno.
I founded Napolisoundscape Urban Space Research, a project for the soundscape mapping of the city of Naples “to restore dignity to the background noise of the city”.
I am a co-founder of the O.E.O.A.S. Electronic Orchestra of Conservatory of Napoli, conduction for Laptop and traditional instruments.
I realized Kaleidocity a project for Open Innovation of International Airport of Napoli, for his award-winning Smart Project 2016. It is a multisensorial tunnel with 16 resonant wall for the spatialized audio on 16 indipendent audio sources.
My electroacoustic works have been performed in more festivals and institutions.
Riccardo Sellan
341 (2016) - 8'21"
Fixed medium [Octophonic]
The sound source regards a voice recording of text by the philosopher F. W. Nietzsche, in particular, the aphorism n° 341 in " Die fröhliche Wissenschaft".
Although there's only the human voice, another "voice" is represented by the same source modified by electronic medium. This counterpoint that flows into the central part is actually characterized by the same element as if to unify these two representations of the same voice musically, which returns continuously but always in a different way.
Biography
Riccardo Sellan
Riccardo Sellan (Pordenone, 1996) began his musical studies starting with the electroacoustic musical composition with Roberto Girolin. He graduated in Electronic Music at the Conservatoire “B. Marcello” of Venice. He has participated as a composer in the project "Écouter Le Monde" at RFI (Radio France International) and at the fifty-seventh edition of the Venice Biennale in the French pavilion Studio Venice by Xavier Veilhan.
He collaborated with the Suonifreschi association in the technical and artistic support team for workshops focusing on the soundscape composition at the Pinault Foundation.
He participated in the XXII edition of the Colloquio di Informatica Musicale (CIM) and in the XIII edition of the Premio Nazionale delle Arti.
He is a founding member of the V.E.R-V. cultural association (Venice Electroacoustic Rendez- Vous).
Roberto Cassano
Anjo Daza (2018) - 8'19"
Fixed medium [Stereo]
“Anjō-daza” is a japanese expression that can hardly be translated to “achieving a void mind”, a concept that Western society has just recently became familiar with and it’s commonly referred to as “mindfullness”. The composition tells about the process of consciously liberating oneself from the thoughts that spontaneously arise in every moment and becoming aware of the present moment.
The three main sections of the work reflect respectively the spontaneous rise of thoughts which we can’t control, the struggle to detach our true selves from them and finally the condition of Anjō-daza in which we can look at our thoughts from a distance and become aware of the here and now.
Biography
Roberto Cassano
Born in 1995, he graduated from Conservatory of Music “Niccolò Piccini” in 2017 and got a Bachelor of Arts in Electronic Music studying with professors Francesco Scagliola, Stefano Alessandretti, Francesco Abbrescia and Roberto Pugliese. His compositions have been selected and performed in Italy and abroad for various festivals and competitions, among which the Festival International de Musique Universitaire de Belfort (2015), the XXI CIM - Colloquio di Informatica Musicale (2016), Silence 2016, Artescienza 2017, URTIcanti 2017 and URTIcanti 2018. In October 2018 he attends the “XIII Premio Nazionale delle Arti” and wins the first prize in the “Original acousmatic works” category.
Jon Christopher Nelson
When Left To His Own Devices (2018) - 8'40"
Fixed Medium [Stereo]
I have often thought of myself as a collector, or perhaps more accurately a hoarder, of sounds. These sounds come from a number of sources including household items, children’s toys, musical instruments, and environmental recordings. The act of manipulating these sounds and placing them in a musical context is a process that relies both on compositional strategies and software tools that I have developed. This work represents one possible result when left to my own devices.
Biography
Jon Christopher Nelson
Jon Christopher Nelson (b. 1960) is an Associate Dean and Professor at the University of North Texas where he is an associate of CEMI (Center for Experimental Music and Intermedia). Nelson’s electroacoustic compositions have been performed throughout the United States, Europe, Asia, and Latin America. His awards include fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Fulbright Commission. He has received Luigi Russolo and Bourges Prizes (including the Euphonies d'Or) and the International Computer Music Association's Americas Regional Award. His works can be heard on the Bourges, Russolo Pratella, Innova, CDCM, NEUMA, ICMC, and SEAMUS labels.
Massimiliano Tonelli
Dolcissima mia vita (2018) - 9'21"
Fixed medium [Octophonic]
The composition is based on material from “Tenebrae Facte Sunt ” by Gesualdo da Venosa (1566 – 1613) and from “I vu di” by Paolo Giaro (1957 - 2018).
The title cites another composition by Gesualdo da Venosa.
Biography
Massimiliano Tonelli
Tonelli was born in 1971. He graduated with degrees in double bass, jazz composition and electronic music from the conservatory “G. Rossini”, Pesaro. He has recorded for the Italian label “Red Records” and for the Swiss label "Unit Records". His acousmatic compositions have been performed at international conferences and festivals. Tonelli holds a laurea in electronic engineering (Università politecnica delle Marche), an MSc and an MPhil in signal processing (Queen Mary University of London and Edinburgh University) and a specialization in acoustics (Università di Ferrara). He is currently a contract professor of “music technology” related subjects in various Italian conservatories.
Roberto Doati
Cacio N.5 (2015/2016) - 9'57"
Ambisonics composition
This composition comes from working materials for a larger work, Il suono bianco (The White Sound), a videomusical project commissioned by Caseificio Di Nucci 1662 (a cheese factory in Agnone, Italy). For a whole week, from 7 a.m. to 2 p.m., I have recorded all the sounds in the factory (mainly for the production ofcaciocavallo): the milk spilling, the all hand-made transformation processes in wooden and steel vats, the conservation and aging stages.
Cacio n. 5 is formally divided in two parts: the first half is devoted to the “liquid” part of the process, while in the second part represents the “solid” state, as we can hear the sounds of rubbing and beating the caciocavallo form in the cellar, as well as tasting the cheese (recorded with a mouth microphone). The two main techniques I used are granulation and convolution, mainly with the idea to render acoustically the aptic dimension of the cheese making.
Biography
Roberto Doati
Studied Electronic music with Albert Mayr and Pietro Grossi at the Firenze Music Conservatory, then in Venezia with Alvise Vidolin. From 1979 until 1989 he has been working as a composer and researcher at the Centro di Sonologia Computazionale, University of Padova. From 1983 to 1993 he was a staff member of L.I.M.B. (Laboratorio permanente per l'Informatica Musicale della Biennale di Venezia) editing its publications and involved in the realization of several projects, notably the exhibition “Nuova Atlantide”. Fellow and composer in residence in several places such as Centre de Recherches et de Formation Musicales de Wallonie in Liège, Rockefeller Foundation, MacDowell Colony. Currently he is Professor of Computer Music at the Conservatory “Giuseppe Nicolini” in Piacenza. Amongst the many project he realized here it is to be mentioned the creation of Galata Electroacoustic Orchestra (GEO) (2013). Its performance (conducted by him and Tolga Tüzün) of Compasso da navegare at La Biennale di Venezia Music Festival in 2014 received a 34th “Franco Abbiati” Italian Musical Critics Award. His compositions gave him international acknowledgements, notably two commissions from La Biennale di Venezia: in 1995 for L’olio con cui si condiscono le parole (voice and electronics), in 2005 for Un avatar del diavolo, a musical theatre work based on Antonin Artaud text. Since 2013 produces audiovisual works on the aesthetics of food such as Seppie senz’osso (video: Paolo Pachini), Il suono bianco (video: Maurizio Goina), Il suono rosso (video: Ivan Penov).