[PD] [PD-announce] Accademia Chigiana: Live-Electronics e Sound and Music Computing seminar Siena Italy July 15-27 2024

[Nicola Bernardini]

https://www.chigiana.org/en/live-electronics-2024/

LIVE ELECTRONICS
SOUND AND MUSIC COMPUTING
Performance and interpretation of electronic music in concert
ALVISE VIDOLIN instructor
NICOLA BERNARDINI co-instructor
15 JULY / 27 JULY

GENERAL INFORMATION
The course is aimed at composers, performers, and interpreters of
electronic music, as well as sound engineers who wish to delve into
theoretical, technical, and creative aspects related to the production of
live electronic concerts. The online lessons are preparatory for the
in-person course and will take place from 10:00 AM to 1:00 PM / 3:00 PM to
6:00 PM on the following days: May 10th, 17th, 24th, and 31st, as well as
June 14th and 21st.

1. COMPOSITION TRACK
For the admission exam, candidates must submit the scores of two recent
compositions with electronic music parts, attaching any audio files and
recordings of a performance (to be uploaded on YouTube in “unlisted” mode).

The scores must reach the Secretariat of the Chigiana Academy through the
online registration form by April 30. At the same time, the
registration-exam fee must be paid.

The Chigiana Academy will communicate the results of the selection made by
the examining committee to all candidates.

The course will have an analytical/theoretical nature in online lessons and
laboratory sessions with daily meetings in face-to-face lessons.

For a limited number of candidates, the possibility of enrolling as
listening students is allowed.

Actual students are required to submit, by the date of the first online
meeting, a score (or sketches) of an original composition for voice and/or
solo instrument with live electronics. The electronic part will be created
during the lessons and performed in concert (July 27) by a student from the
courses of the Chigiana Academy.

2. PERFORMANCE TRACK
For the entrance exam, candidates must present the technical-performance
plans for two pieces from the repertoire for voice or instrument or
ensemble and live electronics by a well-known author, to be chosen by each
candidate. These must be sent with the application form by April 30.

The technical-performance plans must be finalized for performance in a hall
of roughly 250 seats and approximate dimensions of m. 50 x 10 x 5(h), with
live electronics preferably to be performed by a single person.

To perform the work, the candidate may make use, as necessary, of
components from the following audio system:

9 independent amplification channels with 9 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 the candidate’s choice;
1 reverb generator of the candidate’s choice;
1 personal computer with multichannel audio interface and MIDI controller
of the candidate’s choice, software chosen by the candidate (preferred: Max
/ MSP, PD, Supercollider, Csound, or Faust, which may also be
interconnected with each other)
power supply, audio and power cables, technician for installation support.
 The plan 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);
performance environment created by the computer using the chosen software;
text describing the actions that the performer must perform during the
performance, possibly accompanied by additional instructions inserted in
the score.
COURSE DETAILS
Lessons on theory will deepen the student’s knowledge of the following
topics:

– the temporal eco-sustainability of musical works with electronic parts

– the choice of technological equipment suitable for sustainability

– the adaptation of past works made with technologies that are no longer
available

– the various semiographic notations useful for the reading, interpretation
and reconstruction of electronic parts

– the use of scripting and automation systems for the systematic creation
of highly complex electronic scores

These topics present challenging aspects that are still open to emerging
research and will be addressed by highlighting the research and
investigating the know-how and components necessary for in-depth
realizations of past and future works.

LESSONS AND WORKSHOPS
IN-PERSON COURSE
The practical lessons provide for the active participation of students in
the performance of the electronic parts of the compositions listed below
that will be performed within the concerts of the Chigiana International
Festival & Summer Academy 2024:

Dashow Soundings in pure duration n. 10 / Ipiece per Arturo Tallini
Momi Vuoi che nel fuori for percussion trio and electronics
Nono Omaggio a György Kurtàg / Post Praeludium n. 1 per Donau / Interludio
Primo dal “Prometeo”
Ligeti Artikulation
Romitelli Natura morta con fiamme (1991)
Ligeti Glissandi
Manoury Pluton (1988)
Letort Nautipoulpe

ONLINE PREPARATORY LESSONS
In the on-line preparatory lessons, the works with electronic parts to be
performed in the aforementioned concerts will be analyzed and the executive
environments planned. In the on-site laboratories, in addition to the
execution of the electronic parts, the problems of recording, processing
and spatialization of live sounds will be addressed, also as a function of
documentation work to be carried out in post production. Through the
preparation, rehearsal and performance of the pieces with electronics
listed above, different playing techniques will be studied, using the SaMPL
electroacoustic system based on d & b audiotechnik amplification, Yamaha
DM1000 digital mixer and multi-channel spatialization in 8-channels.
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