Generazioni Elettroniche LA DIFFUSIONE
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1. serts with the aim of studying the complex genesis of this composition as well as the influences of the electronic medium on the compositional practice of Edgard Var se Larisa Vrhunc CC studied music education and composition at the Ljubljana Acad emy of Music composition at the Geneva Conservatory of Music and the National Superior Conservatory of Music in Lyon post graduate degree in composition from the Ljubljana Academy of Music different composition courses Residence in K nstlerhaus Schlo Wiepersdorf in 1999 In 2000 a 1 month training in com puter music at IRCAM Paris She is teaching music analysis at the Faculty of Arts in Ljubljana She was awarded several prizes home and abroad and received some important scholarships and commissions Marc Weiser is co founder of the audio visual duo Rechenzentrum which he continues as solo artist since the split in 2008 The project is widely considered as figurehead of Berlin s Electronica scene and has been working at the borderline between club culture and art since more than ten years Besides commissioned works and co operations with established New Music ensembles as well as his participation in the internationally active ensemble Zeitkratzer electronics guitar voice have been generating a close contact with the contemporary art music scene Audio System Andrea Hideo Zorat Sine waves acquiring taste in our mouths Shaping the uncertain and risky audio feedback2. Faculty of Arts in Ljubljana where his research interests are linked to ques tions of musical semantics and the history of opera and contempo rary music He taught at the Pedagogical Academy in Maribor and at the Karl Franzens Universit t in Graz Austria Together with Jurij Snoj he is the coauthor of the book Music in Slovenia through the Aspect of Notation He is the president of the Slovenian Musi cological Society as well as a composer and music critic Marjan ijanec 4 composer among the pioneers of the computer music in former Yugoslavia He graduated in Composition at the University of Lju bljana and followed courses in electronic music and computer pro gramming at the Electronic Studio of Radio Belgrade Sijanec s compositions could be described as post modern belonging to the information era He developed special algorhytmical music based on integral serialism of magic squares Sijanec realises his proj ects both in Slovenia and abroad MBZ Zagreb Bemus Belgrade Annual Review of Yugoslav Music Opatija Festival of Experimen tal Music Bourges France Slovene Days of Music Ljubljana Prix Ars Electronica Linz Austria Eveline Vernooij graduated in musicology at the University of Udine with a master thesis in musical philology Presently she is a Ph D student in Au diovisual Studies at the University of Udine Her research involves a philological critical study of both the textual and audio sources of D
3. Foscari Venice he received his diploma in electronic music under the guidance of Alvise Vidolin and a PhD in musicology with prof Angelo Orcalli Presently he collaborates with the Luigi Nono Archive in Venice and he teaches electronic music at the Conser vatorio Tartini of Trieste His compositions have been performed in Italy Poland Germany and the United States Luca Cossettini LJ is researcher in Musicologia e Storia della Musica at the Depart ment of Scienze Storiche e Documentarie of the University of Udine He teaches Musical philology History of music and Popular Music and recorded music history at the DAMS Music study pro gram in Gorizia He studies the influences of audio technology in the compositional processes of the second half of the 20th cen tury with the aim of laying the foundation for a musical philology capable of interpreting the electronic music repertoire Currently his research projects focus on the intertextual problems of com positions involving both instrumental and electronic components Franco Fabbri is a musician and musicologist His main interests are in the fields of genre theories and music typologies the impact of media and technology across genres and musical cultures and the history of popular music Fabbri has published on the rapport between music and technology Elettronica e musica on the confrontation of musical cultures in contemporary world L ascolto tab and on the intricat
4. and more until it reaches a state of calm where gravity is stabilized on a basic tone In the final section appears the voice of the creator of the composer himself who as a Phoniurge cominucates with his creatures Wassersprache_101020 wishes to investigate the sound of the ar chitectural space Wandering resonances will be amplified in a self controlled electro acoustic feedback with an algorithm that ob serves itself in a second order cybernetics s musical declination from H von Foerster to A Di Scipio During the performance the algorithm may be changed on the fly live coding practice by introducing different DSP methods in order to reveal more hidden resonances Two performers use sensors of movements to produce sounds of concrete materials realized in real time with virtual instruments that simulate some instrumental archetypes plates strings membranes The goal is to create an orchestra of concrete but invisible materials always varying The system recognizes a stored score of gestures and associates to it a complex musical score to perform Some parameters are free to give the performer a cer tain space in interpretation that renders the performance always different The sounds are produced also by touching some sur faces on which are fixed contact microphones Music Lorenzo Pagliei software and motion capture Bruno Zam borlin performed by Lorenzo Pagliei and Bruno Zamborlin using technolog
5. of Klagenfurt Contemporary Art Music Participating in Popular Culture The Interaction of Two Spheres Illus trated with Music by John Cage Franco Fabbri University of Turin From musique concr te to rock n roll from tape and electronic music to the Beatles from mini malism and progressive rock to disco and techno unscored music and its challenge to score cen tered musicology Angelo Orcalli University of Udine Cybernetic generation sounds for a forbidden planet Wednesday 20th October 2010 9 30 pm Mostovna Solkan Cesta IX Korpusa 99a Electronic Action lt Andrea Hideo Zorat Conservatory of Trieste Sine waves acquiring taste in our mouths Fabrizio Fiore Conservatory of Trieste II mio si lungo pianto Simone Peraz SCGV Emil Komel Gorizia Genesi Nicola Buso Conservatory of Trieste Wassersprache_101020 Lorenzo Pagliei Bruno Zamborlin IRCAM Paris I materiali Marjan Sijanec Dru amp tvo slovenskih skladateljev Venus Orchestra Marc Weiser aka Rechenzentrum Berlin Experimental electronica live Dahlia Borsche Marc Weiser IDM Intelligent Dance Music DJ LIVE Set Will follow Eat by till dawn Thursday 21st October 2010 10 30 am 1 00 pm Palazzo Alvarez Aula P University of Udine Gorizia Via Armando Diaz 5 Electronic Conversation ist act lecture part e Eveline Vernooij University of Udine Sound in progress On Varese s Deserts Gregor Pompe University
6. paradigms therefore can emerge a new vision that no longer focuses on the differences but rather on common factors This year the aim of the meeting is to confront the different approaches to musical electronics exploring the various as pects from multiple points of view The inquiry focuses on the evolutions of the so called classical electronic repertory on the new pop ular tendencies and on the continuous contami nations between genres styles and usages without leaving out the history of the evolution of technology and taste A critical reflection cannot take place without an active de bate For this reason Electronic Generations has been trans formed this year in an international round table Italian Slove nian and Austrian musicians and musicologists will be hosted in the name of a cross border unity that will witness Gorizia and Nova Gorica cities that are a symbol of division reunited for this year s meeting Table of contents Wednesday 20th October 2010 3 30 pm 6 30 pm Palazzo Alvarez Aula P University of Udine Gorizia Via Armando Diaz 5 2nd Electronic Generation High vs Low Theoretical scenario 3 30 pm 4 00 pm 4 30 pm 5 15 pm 6 00 pm Mauro Pascolini head of the CEGO Greetings Roberto Calabretto head of the DAMS course Greetings Luca Cossettini University of Udine Introduction musicology and electronic music an epistemological impasse Simone Heilgendorff University
7. which he harnesses for his particular intentions and creatively employs in different ways A Rechenzentrum live set takes the audience for a thrilling trip into Weiser s imagination of sound DJ LIVE Set by Marc Weiser and Dahlia Borsche IDM Intelligent Dance Music Marc Weiser aka Rechenzentrum and Berlin rooted DJane Dahlia frequently get together for a special DJ Live Project combining a DJ Set with elements of live electronic Marc Weiser is setting several layers of experimental sounds and voices over the carpet of subtly interwoven minimal grooves provided by Dahlia The in terplay between both is not only a complex and surprising sound experience but challenges the traditional determination of the two fundamental sources of club sound the live act and the DJ The result is a spontaneous energetic set that opens up a new exciting variety of standard club music Customer Care Universit degli Studi di Udine Centro polifunzionale di Gorizia Palazzo Alvarez via Diaz 5 34170 Gorizia Italia tel 39 0481 580311 generazionielettroniche cego uniud it web http generazionielettroniche uniud it Laboratori audio DAMS Musica Palazzo Alvarez via Diaz 5 34170 Gorizia Italia tel 39 0481 580325 mirage uniud it web http audiolab uniud it Mostovna Cesta IX Korpusa 99a Nova Gorica 5000 Slovenija tel 386 5 3300 912 info mostovna com web http www mostovna com UNIVERSIT T KLAGENF
8. URT MWe E EN MIRATA Universit degli Studi di Udine Centro Polifunzio nale di Gorizia Dipartimento di Scienze Storiche e Documentarie Universit degli Studi di Udine Laboratorio MIRAGE Universit degli Studi di Udine Alpen Adria Universit t Kagenfurt Abteilung Musiwissentschaft Alpen Adria Universitat Klagenfurt Univerza v Ljublijani Filozofska Fakulteta Univerza v Ljublijani Klub Gori kih Studentov A Consorzio per lo Sviluppo del Polo i Universitario di H 2 Gorizia Comune di Gorizia Provincia di Gorizia forum giovani Forum Giovani tia della Provincia GORIZIA di Gorizia aa Fondazione wg Carigo Cassa a di Risparmio di FONDAZIONE Gorizia Cone di Papen di barpo Glasbena Sola SCGV Emil Komel Conservatorio Jacopo Tomadini di Udine ogtovna Ce rf Mostovna
9. by searching raw sounds such as sine waves and noise slowly evolving into sweet er tones towards a more rhythmic form using a variety of glitches and cuts to create the semblance of an unpredictable pattern ma chine in the space Fabrizio Fiore I mio s lungo pianto A sick clown will lead you to a reality where everything is clear no masks no lies Here you face what you have always ignored this is what you are eating This piece is a vegan manifesto a violent exposition to the cries of animals we always eat Violence is not always a negative thing in this case it is a method to make people think When people think they are able to change themselves You must be the change you want to see in the world said Mahatma Gandhi Most of the sounds are taken from a report on the life of animals in slaughter houses The sonic material is lo fi warped stretched and distorted then mixed in a rapid sequence of sound and long silences Simone Peraz Genesi Art imitates nature which is an ongoing process The universe can thus be interpreted as a constantly evolving form In Genesi we witness the birth of a world that propagates solely in the di mension of sound A universe of pure audio that comes from an explosive Big Bang and branches out through a process similar to the growth of a plant This universe influences the pace and den sity of the electroaoustic metamorphosis through multiple sound transformations expanding more
10. ca 20 21 10 2019 Generazioni Elettroniche LA DIFFUSIONE SONORA USER S MANUAL Includes setup expansion and important health related information for Generazioni Elettroniche Series Artistic Director Daniele Badocco Scientific Director Luca Cossettini Scientific Committee Dahlia Borsche Gianni Di Capua Eveline Vernooij Staff Nova Gorica Tadej Stoli Klub Gori kih Studentov Press Agency Shadia El Tabch Communication Area Nicola Balbinot Tech Stuff Lorenzo Della Rovere Layout Artist Alessandro Olto Getting Started Electronic music is an ever expanding universe Ever since the fifties it has taken complex and often unexpected directions In other words it has become an area of particular interest and full of possibilities for new generations Nonetheless traditional historical musicology underesti mated the impact of new electronic media on the recording forms and the spread of knowledge and too often found itself before an epistemological impasse This caused a great delay in the full understanding of this repertoire By insisting on the separation between a high and vulgar culture and based on the analysis of pre composition models at the expense of per formance a large number of critics has ignored the common laboratorial practice which unites the different forms of expres sion Through the study of the dynamic process for creating electronic works a change of the interpretational
11. e fabric of influences and coincidences in the history of popular music Around the clock His most read book I suono in cui viviamo 3 editions contains articles on diverse subjects in cluding genres analysis of popular music and aesthetics of sound Fabrizio Fiore has attended Musicology at DAMS of Gorizia and then Music Sound and New Technologies at the Conservatory G Tartini in Trieste After classical and electrical guitar studies he has per formed as guitarist and bass player with a few bands Since 2006 his musical production has shifted in the electroacoustic field with examples of electronic music instrumental plus electronic music live electronics music for videos and music installations for art exhibition His interest for popular music has led him to a com positive approach close to the themes and methods of some bands active in social denunciation Simone Heilgendorff 2 is a University Professor of Applied Musicology head of the De partment of Musicology at Klagenfurt University Austria and of the study program in Applied Musicology BA MA She studied Musicology Philosophy and Psychology Humboldt University Ber lin as well as Viola Univ of Michigan Ann Arbor USA Since 1993 she has been teaching in several colleges and universities with an emphasis on the mediation of scholarly and artistic practice Her researches are centered on New Music and music of the Baroque period focusing on musical analys
12. ies by Real Time Music Interaction Team Ircam Centre Pompidou Paris VENUS ORCHESTRA is Sijanec s fifth work from his cycle of twelve compositions entitled Music of Cosmic Models It was composed on the bases of his own computer programme All parameters were realized after the model of integral serialization in which he made use of various archaic numerical series called magic squares In the present composition the 7 X 7 magic square was applied since this number has by tradition appertained to the planet Venus The composition programme simulates the sound of a symphony or chestra thought both algorithms of synthesized sounds of individual instruments and digital patterns of orchestral groups The sound image is a result of various syntheses as well as of the forming of sound by means of diverse digitally and analogue processes Venus Orchestra was recorded in Studio 22 of regional RTV Centre Maribor in 1995 The sound engineer was Sa o Papp whereas the sound producer was composer himself Marc Weiser aka Rechenzentrum Experimental Electronica live Rechenzentrum has always been bound for different worlds con texts and disciplines between video and audio between club cul ture and sound art between abstract and emotional sound worlds In his music Marc Weiser not only found a very distinct expression but also developed a special exposure to technology Characteris tic of his work is his intuitive approach to electronic devices
13. is analysis of cultural connota tions performance practice and the culture of musical interpreta tion Andrea Hideo Zorat pursued his accademic studies at the Conservatory of Music Tar tini in Trieste gaining his diploma in Electronic Music The lack of human interaction during his live performances with computer music made him turn back to the use of hardware as sound gen erators He developed his own style within the No input music us ing mixing consoles and multieffects as live interactive musical in struments Besides his electronic involvement Andrea Hideo Zorat has been playing for years in several rock bands e g Threatcon Charlie Enrico Berto The Storylines Arnoux At the moment he working on his No input solo album Angelo Orcalli J is a professor of History of Contemporary Music and Esthetics and history of music theory His studies are in the fields of experimen tal music and of the history of modern and contemporary music theory all of which employ an interdisciplinary approach that pays close attention to both philosophical and scientific thought He has carried out research on the methodologies of audio restoration made possible by his dual academic background a degree both in Mathematics and in Philosophy In 1998 he founded the MIRAGE Lab Music Innovation Research and Applications Gorizia Equipe a university laboratory for the preservation restoration and criti cal analysis of audiovisual source
14. of Ljubljana Electronic music in Slovenia reasons and influ ences institutions and alternatives no Dahlia Borsche University of Klagenfurt Beyond pop Reflecting noise music as model for a trans categorial musicological approach e Nicola Buso Conservatory of Trieste Sound and drama playing electronic music ii Luca Cossettini University of Udine 2 00 pm 5 30 pm Palazzo Alvarez Aula P University of Udine Gorizia Via Armando Diaz 5 Electronic Conversation 2nd act composers part 0 Larisa Vrhunc University of Ljubljana the composers Marjan ijanec Lorenzo Pagliei Marc Weiser Andrea Hideo Zorat Simone Peraz Fabrizio Fiore Round Table with all the partecipants Quick Reference Description Dahlia Borsche Lie studied musicology ethnomusicology and sociology at Freie Uni versit t Berlin Between 2006 and 2009 she was production man ager at the international Club Transmediale Festival in Berlin Since September 2009 she is working as scientific assistant in the new study programme Applied Musicology at Alpes Adria Uni versity in Klagenfurt She attends the Klagenfurt PhD programme with a thesis about the relation of noise and music within scenes between high and low culture Besides her scientific engagement Dahlia Borsche has been working as promoter curator and DJane for many years Nicola Buso St after a diploma in piano and a degree in philosophy Universit Ca
15. s Lorenzo Pagliei composer electroacoustic musician and pianist After the musi cal studies in Italy he moves to Paris to work at Ircam where he realizes his last pieces and executes researches on the control of modal synthesis in real time and gesture following He collabo rates with artist of different disciplines and uses electronic music to realize what is not realizable with acoustical instruments the sound synthesis of unreal materials the hyper amplification of acoustical objects or instruments the spatialization of sound as a mean to open the hearing and to give value to live performance Simone Peraz 4 graduated in 2006 at the Conservatory G Tartini in Trieste Cur rently he is attending the International Padova Piano Academy under the guide of M R Zadra and M F Righini as well as the 2nd year of the master program in piano interpretation at the Conser vatory J Tomadini in Udine under the guide of M Cabai and D Rivera He has performed in Italy Slovenia Austria and Hungary as a soloist and in duo with the pianist Neva Klanj5Cek He has studied traditional composition with M D Macculi and electroa custic music with M R Girolin Gregor Pompe LI studied comparative literature German language and musicology at The Faculty of Arts in Ljubljana where he also defended his doctoral thesis Postmodernism and Musical Semantics He is assis tant professor at the Department of Musicology of The
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