October, 5th

Acousmatic concert in ambisonic dome

In uno dei suoi più noti aforismi Victor Hugo scrisse che la musica è rumore che pensa. Un pensiero destinato ad evolversi nel tempo, che passa per il movimento nello spazio e nelle tessiture sonore coerenti ma allo stesso tempo contraddittorie di cinque compositori provenienti da diverse parti del mondo, riuniti in un’unica esperienza d’ascolto.
F. Ziello

Time 17:00
Location: Il Suono di Piero [Aula Bianchini]
Category: Acousmatic
Duration: 50’
Sound Direction: Francesco Ziello
Ursula Meyer-König Allears (8.00)
Benjamin O’Brien Along the eaves (8.02)
Dennis Deovides A. Reyes III Bolgia (7.31)
Dimitrios Savva Balloon Theories (14.30)
Jones Margarucci Inhabitated Places_Part II (5.52)

Program Notes

Allears The inspiration for this work originally came from a series of intensive discussions with people who are deaf or have hearing impairments. We talked about the pros and cons of technical apparatuses such as hearing aids or cochlea implants, the different ethical and emotional responses people have to them, and the identity issues they raise. Wearing hearing aids also changes how sounds are perceived, sometimes causing interference, distortions, diminished spatial perception and noise overflow.

Along the eaves takes its name from the following line in Franz Kafka’s A Crossbreed: On the moonlight nights its favorite promenade is along the eaves. To compose the work, I developed custom software and used these programs in different ways to process and sequence my source materials, which, in this case, included audio recordings of water, babies, and string instruments. My interest is to create sonic coincidences that suggest relationships between sounds and the illusions they foster.

Bolgia is an Italian word that means pocket or trench. This term has been used by Dante Alighieri in his notable literary work Inferno. Bolgia is a stereo fixed media electroacoustic composition, which depicts Alighieri’s journey to the eighth circle of hell, and his experiences to its horrific environment. The musical gestures and sonic events of the piece evoke the different sounds and emotions of hell.

Balloon Theories «I was always enjoying squeezing balloons, pressing them with my fingers until they pop… It has not been up until now that I realized why…»

Inhabitated Places_Part II is based on the concept of algorithmic composition. Although the general shape of this piece has been determined in a conventional way, every sound that one can hear are selected in real time by different algorithms written in SuperCollider. These algorithms choose randomly audio files from different folders and play them at different speeds and in different moments. It is as if we had placed several different objects in several boxes (that represent our shape), but every time we open one of these boxes the objects placed inside are positioned differently from how we had left them previously. The piece was also rendered in B-format Ambisonic.

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