October 29, 2016
|Location:||Il Suono di Piero [Aula Bianchini]|
|Sound Direction:||Massimiliano Mascaro|
|Gustavo Adolfo Delgado||Microelektra I • 5’00|
|Kazuya Ishigami||GENSHI NO UMI ver2.0 -primitive sea ver2.0- • 7’14|
|Filippo Mereu||Lamie • 7’05|
|Michele Papa||Imenottero Aculeato - Studio preparatorio per interazione vocale • 5’40|
|per mezzosoprano e sfera|
Microelektra I  The composition deals with a fantasy by complex rhythms and actions built using the use of various percussion samples and home gadgets which isolated, fragmented and cutting up in a very short fragments (ms), sometimes almost without processing. Through a meticulous work of mounting there were created such very complex puzzled-like electronic microstructures of opposite behaviour controlled by several suspensive/resolving prototype curves.
GENSHI NO UMI ver2.0 -primitive sea ver2.0-  About 40 million years ago. Our ancestors was born from the primitive sea. Newborn life, already had the elements of the battle. This element is source of the animal and a human. In other words, the war that continues today, was born life and at the same time.
Lamie  The song was inspired by the ancient Greek mythological figures, Lamie, part human and part animal-like creatures. The intention of this work is make a journey into the mind, into a dreamscape. The sounds became informations and form emotional states and take us beyond time. The vocalism is the most important element; the voices are heterogeneous, referable to imaginative voices, spectral and pervasive. There are three different moments: in the first prevails a gestures; in the second a more thoughtful moment, in contraposition to the first; in the third there is a repetition of material present in the first part and addition of new gestural material and in the final prevail an essentially voice stratification. Every single sound object was subjected to different processing procedures: modification of time and intonation, multiple overlapping and repetition of fragments, modulation, filtering and reverb. The following materials were used: 1. natural sounds recorded: metallic materials, water and flora. 2. Extrapolated sounds by the media (opera singers).
Imenottero Aculeato - Studio preparatorio per interazione vocale  This study is based on the interaction between voice and electronic elements developed in real time. A research on the decomposition of lemma MORPHOPOLIS and of the linguistic characteristics that only one word can explicate in its decomposition. The electronic elaboration can be a medium between voice and electronic sounds, that, spatialized, moved the metaphorical creature that lived in us. The Hymenoptera Aculeato nestles in the human stomach (the sphere) and it is the imagine of liberation from our idols. The idols once expelled from us, they present with their real form: an insect.