Dr. Christian Dimpker – – N. 28 Light quartet “Die Zusammensetzung der Welt” (Installation)
The light quartet Die Zusammensetzung der Welt penetrates into the depths of our existence – which is a realm of incredible beauty. And be aware: the further you dig, the more of that beauty reveals itself. The work explores this depth by means of prepared light microscopes, which uncover samples of various inorganic and organic substances and send their discoveries to TVs and projectors, while the viewers themselves become a screen and immerse themselves in the work. The sound increasingly delves into the background, but at the same time also into the substance of the world. The listener sinks into the depths of the ocean, climbs up to the heights of winds, listens to animated soil and burns in a roaring fire. In addition, the actions of the players are inspected by means of contact microphones. However, the focus is on the visual level, which – like all sounds – completely ascends from the art of the notation and thus can be perceived in two ways. During the performance, however, the players do not work with the score. They receive their instructions from the conductors and the light tubes underneath the table, which emit polarised as well as unpolarised light of various kinds and enables them to access the samples in always different manners.
Dr Manuella Blackburn – Cupboard Love
This composition explores the memories found in cupboards, draws and cabinets. Scraps of paper, photographs and mementos come to life through sonic snapshots of earlier times. Opening and closing cupboards offers an inviting gesture to enter new sonic worlds; a cliche of the acousmatic genre, but reimagined here as an everyday action that frames the appearance of sound memories. This open/close action reveals environments, places and spaces, showing brief sonic glimpses of my past years. A key influence guiding the work’s construction was the concept of the interruption. Exploring interruptions in all its forms and how these impact upon continuity was an important step for developing the work’s structure. “Dr Manuella Blackburn is a researcher and an internationally recognised, multi award-winning composer of sound-based music and digital arts. She has been working with sound for over 15 years and has created projects for fixed media, instruments and electronics, installations, and music for film and audio-visuals. Her music is published on the Montreal-based label, Emprientes DIGITALes and she has received over 250 performances and exhibitions world-wide.
Dr Blackburn’s research interests focus on three primary areas: sampling and intertextual procedures, intercultural creativity, and compositional methodologies. Her research has been funded by the Arts and Humanities Research Council (AHRC) and she is currently researching the history of sound libraries as a precursor to the contemporary downloadable sample pack.
Berk Yagli – Ideological Distortion
Ideological Distortion is a piece which explores the dark side of today’s media, dilution of ideologies, and constant bombardment of confusion. It invites the listener into reflecting on the issues and feel the horror and hate that is constantly imposed on society whether we individuals are lucid about it or not.
Berk Yağlı (born 5 January 1999) is a Cypriot guitarist, composer, and producer. His mission with his music has been to talk about social, political, and philosophical matters interestingly to invite the listeners into reflecting on the topics. He is currently a student in the University of the Arts London working under Adam Stanovic for his PhD topic hybridity between metal and electroacoustic music. He also composed, produced, and released a cinematic/epic social commentary progressive metal album ‘Symphony of Humanity’ in 2021. His works have been presented in the UK, USA, and internationally.
Cameron Naylor – Foxglove
Created from sounds of a tree isolated from its typical natural environment, this piece explores a heightened sense of scale resulting from extremely close recording techniques, reframing miniscule natural processes as functions of a great ever-growing entity. Here almost imperceptible sounds are magnified, becoming part of a series of vast and enveloping spaces interior and exterior to the tree. “Cameron Naylor is an electroacoustic composer and sound artist.
Through the manipulation of field recording and abstract sound material, his compositions explore sound and space as a metaphor in musical storytelling.His research interests focus on exploring the dramatic potential of sound in a variety of formats, including acousmatic music, sound installations, soundscape for theatre and radio, as well as composition for film and spoken word. Since studying Electroacoustic Composition in Interactive Media at the University of Manchester, he has since gone on to perform at Convergence, MANTIS, SC2022, SOUND/IMAGE, and internationally.”
Domenico De Simone – PEACE WIND
“The WIND has no borders, it cannot be stopped.
PEACE WIND is based on the sound of a WIND, the same WIND that caressed my face as a child, when my SOUL was still INNOCENT, when my SOUL didn’t yet know to BE. I have entrusted the task of making the WIND “”speak”” to MUSIC, or rather of making it “”sing”” words of PEACE, but in an “”unheard of”” and “”inaudible”” language, intelligible only to the most intimate and profound part of our being, thus hoping that our SOUL, finally “”free””, can let itself be moved and transported to an IDEAL WORLD, where the condition of “”normality”” is PEACE, where the only “”imaginable”” WAR is to save our LOCAL EARTH. PEACE doesn’t shout. PEACE WIND: WIND of PEACE, PEACE in the WIND.”
“Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Piano, Jazz, Composition and Electronic Music.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni at the Accademia Chigiana in Siena. His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, etc.).”
Anna Claudia Postiglione – Kòsmosmandala
Behind any inanimate or animated being around us, a mix of matter and spirit pushes toward a mysterious path. For many years, I have been experimenting with how micro worlds created through sonic experience are conditioning our perception of our personal path of us, as it goes through that mysterious and unveiling destination. Music transforms any matter in a new form, even abstract or discernible, and for this reason, I believe that it resonates with each of us at a specific frequency, exactly as for musical instruments. Throughout the work ‘Kosmomandala’ I would like to explore the sonic world of resonances and the materials that generate them. The composition theme is inspired by the substance and the circular essence of the matter of the Universe that is often related to rituals, meditation and spirituality because they are sounds related to the stresses of ancient metal alloys that generate vibrations and resonances that pervade space. In the first section, the materials are presented in their first, almost elementary instance, until they grow with their own intrinsic behaviour in the next section where they find a new form that interweaves their evolution, which, in the third final section presents its final fulfilment with an increasing tension emphasised by frequencies that belong to the entire sound spectrum. In this 2-channels electroacoustic composition I applied techniques of recording and manipulation of sounds generated by materials of different natures such as iron, metals, voices, air particles and so on, in any case, I chose corps able to resonate when in contact. Moreover, I applied techniques of sound synthesis and original direct sampling to model rhythms and tones directions. techniques of phase shifting, filtering and morphing have been used to model material comportments. Sound Synthesis and computer-generated sine have been moulded together with Puredata patch-generated timbres.
La Claud graduated in Computer Science and in Electronic Music at the Conservatory of Naples with 110 cum laude. Over the years, she has conducted research and experiments combining visual and sound arts, carried out electroacoustic and electronic music projects. In 2020, She won the Lithuanian international award “”Matters. Platform for Industrial Culture”” with the opera “PHYSIS”. In 2021, She won the prize “”Selected Projects”” at the Madrid “In-Sonora festival 2021” with the opera “”Ferrite II Interstitial””. In 2022, She won the call “Queer, Care Futures: Symposium of the LGBTQ+ Music Study Group” with the project entitled “The Talking Queer”.
Sam Mitchell – The Body’s Habits Are Strong
“…it is in vain that we say what we see; what we see never resides in what we say.” Foucault, 1966, tr. 1970
A fantasy, where abstract sounds tumble into each other, from one space to another, within a space that is often itself changing shape; these transient events are quickly replaced by semi-static tones that try to recognise themselves through timbre and duration, find themselves destabilised and alienated from their initial pitches, smeared across the sound space. There is a repeating motif of white noise, slipping into reverberation, the reverberation becoming it’s own flavour of noise. A final layer, improvised and crudely daubed onto the timeline, is low frequency analogue pulses, implying and breaking rhythms from the left of the image to the right (in this instance the composition occurs on a two dimensional plane, ideally surrounding the listener at ear level, or perhaps on headphones), reminding us that the listening space has boundaries, but that it is a visitor to the compositional space. But a fantasy isn’t a failure of representation, after all, music and sound cannot represent something that isn’t music and sound, except obliquely; in fact, perhaps a a fantasy is a stronger form of representation, than a “realistic” approach which can only provide a grim shadow of that which is to be represented. Original sounds and overdubs generated and sequenced with modular synth, additional processing with GRM Tools.
Sam Mitchell is a PhD Electronic composition candidate, speacialising in multichannel acousmatic works, he is a regular contributor and curator with the EchoChroma collective in Leeds, and had previously performed work in Hull, York and Aberdeen.
Stefano Catena – Tides
Tides is the author’s reflection on waves, both in the spatial and in the spectral domain. The succession of waves, their rhythmic movement, their spatial motion and their granularity shape the narrative of the composition. This journey brings the listeners in an environment where waves and tides follow and chase each other, dancing in a fugue-like counterpoint, up until no sound can be heard on the shore.
Stefano Catena is an Italian composer and researcher: he specialises in acousmatic music, ambient and multimedia installation, sound synthesis, spatialisation and sound programming. He graduated at Milan’s Conservatory in Electronic Music with the 110/110 cum laude with the thesis “The Virtual Acousmonium: a study on expressiveness of musical gestures”. His works have been included and performed in some of the most important international conferences such as Sound and Music Computing (SMC) and Colloqui d’Informatica Musicale (CIM). He is currently pursuing a PhD in Music, Technology and Innovation from De Montfort University in Leicester under Peter Batchelor, Leigh Landy and Scott Wilson.
Tim Anderson – Insecurities
‘Insecurities’ is a resumé of those thoughts that bedevil us as we sit quietly waiting for acceptance into a group – a close relative of Impostor Syndrome. The world goes past and we believe that we have achieved our goals, but the little voice pops up:
What if you’re not
Good, strong, wise, clear,
Generous, tough, clever, transparent enough?
Progressive, resilient, smart, innocent,
Enabled, supportive, educated, coherent enough?
What if you’re not
Warm, perceptive, caring, alert,
Parent, aware, loving, woke, enough?
Different, affected, neurodiverse, mental,
Bold, disabled, centred, alive enough?
What if you’re not
Female, black, queer, trans,
Feminine, BAME, gay, ungendered, enough?
Girl, coloured, special, celibate,
Woman, ethnic, homo, asexual enough?
What if you’re not
Transgressive, autistic, dissociated, obsessive,
Selfish, aggressive, scared, broken, enough?
Appalled, damaged, addicted, angry,
Outraged, distraught, enraged, destroyed enough?
What if?
What if!
This is a list-poem in the form of Darya Semegen’s piece ‘Art-Tickle’ which sits in the centre of an electro-acoustic piece of found sound, including a recorded segments from a retrospective of Nam June Paik’s work at Tate Modern. Most of the layers and gestures were in my bricoleur’s stash and have appeared in other pieces. Waste not, want not. The layering of sound finds its roots in Nam June Paik’s installation ‘Sistine Chapel’ (1993) where a plethora of videos were projected complete with their overlapping soudtracks. John Cage’s ‘Musicircus’ (1967) speaks also of the power of overlapping random audio and how we make sense of it.
Born in Partition times in India, Tim Anderson has been a bus conductor, factory hand, potters’ labourer and primary schoolteacher, the last being where he learned his performance techniques. In 1999 he re-entered further education and became a music graduate, followed by a masters in Contemporary Arts from Manchester Metropolitan University. His MPhil from Keele University was based on a portfolio of cross-media pieces. He is currently working towards a Praxis-as-Research PhD in Art & Design at Staffordshire University. He has presented his work at MMU, Keele, and Brighton (MeCCSA, online) as well as at Staffs.
Samvaran Rai – With Time
With Time is based on the idea that time is a construct of the mind where one experiences material changes that run into space. This piece tries to show the struggle of the mind as it finds itself within the confines of time and looks for ways to escape. The mind opens doors to different memory spaces yet every place in a memory space has existed before. This affects its present consciousness as it creates an incomprehensible warp of events and eventually requires time to make sense of these material changes. With time is an audio centric and it is based on the radiophonic narrative concept. This piece is an attempt to play with realism by trying to re-create some sounds in their natural state. To make sense of each space introduced within the composition, it was important for some of the design of these spaces to have a realistic touch so that what was being heard would remain until the warp of events towards the end of the composition. Janet Cardiff and her work along with Goerge Burs Mille on, The Murder of the Crows with the use of her voice in narrating her dreams in between layers of the compositional work and Lost in the Memory palace that was created for participants to move within different spaces in a contained room that represented the mind and the memory space, were interesting concepts that helped me construct my thoughts around creating a map for my composition With Time.
Samvaran is an Indian/ Nepali composer from Darjeeling and is currently involved with his MA centred around music experimentation and innovative practices within Music Technology and Innovation at De Montfort University. He has an affinity for film and the ‘funny business of storytelling’ with sound and music. His contributions as a sound designer and composer extend towards dance films, which has been an area that has a huge influence on his creativity. Some of the documentary and fiction films that he collaborated with as a composer have been well received at Docudays UA International Human Rights festival 2020, Queens Palm festival 2020 and LIFF 2022.
Francis DHOMONT – Somme Toute
To Anette Vande Gorne
Looking/listening to a journey of more than fifty years and more than ninety opuses. Reminder, nostalgic assessment, synthesis, outcome perhaps.
This free abstraction, introduced by my last choices of writing, is the testimony of a long journey over the successive discoveries that constitute my contribution to the rich acousmatic repertoire. This is why it alludes to eighteen of my milestone works, temporal testimonies that could summarize the evolution of my thought and my language.
French and Canadian composer, was born in Paris, 1926.Convinced of the originality of acousmatic art, his production is, since 1960, exclusively made of tape works. Doc Honoris causa at University of Montreal where he was teaching Electroacoustic Composition from 1980 to 1996. During 26 years, he shared his activity between France and Quebec. 1997, a guest of the Deutscher Akademischer Austauschdienst (DAAD) Berlin. Grand Prix GigaHetz 2013, Qwartz Music Awards 2012. Prix “”Ars electronica 1992″”, “”Magisterium”” Bourges 1988. Many works selected for the “”World Music Days””, and ICMC. He is now living in Avignon, France, and pursues an international career.
http://www.electrocd.com/en/bio/dhomont_fr/discog/
Leah Reid – Sk(etch)
Sk(etch) is an acousmatic work that explores sounds, gestures, textures, and timbres associated with the creative process of sketching, drawing, writing, and composing.
Leah Reid is a composer, sound artist, researcher, and educator, whose works range from opera, chamber, and vocal music, to acousmatic, electroacoustic works, and interactive sound installations. Winner of a 2022 Guggenheim Fellowship, Reid has also won the American Prize in Composition, first prize in the KLANG! International Electroacoustic Composition Competition, Sound of the Year’s Composed with Sound Award, the International Alliance for Women in Music’s Pauline Oliveros Award, and second prizes in the Iannis Xenakis International Electronic Music Competition and the International Destellos Competition.
Additional information may be found at www.leahreid.com.
Zoe (Yi-Cheng) Lin – Music from the Metaverse: 3D Illusory Immersive Soundscape “Aurora” for Solo Saxophone and Immersive Electroacoustic Music
In National Geographic magazine, I am captivated by the photos taken in remote, unspoiled locations. I can picture the photographers, surrounded by stunning vistas, feeling a sense of peace and solitude as they contemplate the insignificance of humanity in the grand scheme of the Earth. This experience reminds us that we are part of the planet and should act accordingly. Through my work, “”Aurora,”” I strive to capture the beauty and majesty of these
landscapes. The title, inspired by the dazzling natural phenomenon, honors the sky and the snow-covered mountains and forests beneath it. I want my audience to feel the cold, crisp air and see the reflections of the mountaintops on the lakes. I want them to feel the joy and purity of an untouched world filled with love. “Aurora” is a solo saxophone piece accompanied by 3D immersive electroacoustic accompaniment. It features my latest experiment – an immersive stereo format that projects 360-degree audio through a simple stereo speaker setup. With their eyes closed, the audience will be fully transported to the world of “” Aurora,” where they can experience the beauty of this untouched world in a fully immersive and multi-sensory way.
Zoe (Yi-Cheng) Lin is a tech-savvy compose with expertise in AI music development and 3D immersive music. As a former Chief Music Officer at an AI music company and current adjunct assistant professor at National Taiwan Normal University. Zoe is recognized for their auditory-visual synesthesia experiments in electroacoustic music and immersive mixing techniques. Her works have been performed worldwide prestigious events such as Klingt gut 2017, Audio Mostly 2017, World Saxophone Congress 2018, ICMC 2022, IRCAM Forum 2022 in New York, SICMF 2022, and Atemporánea 2022, the Earth Day Art Model 2023, the BIFAN film festival, ACM Siggraph 2021.
Andrew Lewis – Three Storms
February 2022 saw a remarkable sequence of three named storms in the UK – Dudley, Eunice and Franklyn – which followed each other within the course of a single week. It was another of the increasingly frequent record-breaking weather events that point towards the dangers of climate change. The musical foundation of ‘Three Storms’ uses data from buoys located around the south west of England and North Wales, which sample the frequencies of ocean waves at different UK locations, every half hour. These wave motions have then been shifted up into the range of human hearing, making the ‘vibrations’ of UK coastal waters audible, and compressing a month of activity into seven minutes. Wave data was supplied by the Channel Coastal Observatory (https://coastalmonitoring.org/). I am grateful to Dr David Christie, Research Fellow in Ocean Renewable Energy Modelling in Bangor University’s School of Ocean Sciences, for his invaluable help in obtaining and understanding the data.
Andrew Lewis studied composition with Jonty Harrison at the University of Birmingham, and was one of the original members of BEAST. He is Professor of Music at Bangor University, Wales, where he directs the Electroacoustic Music Studios. His music is concerned with the materiality of sound, and often uses technology in its realisation and performance. Prizes include Bourges ‘Euphonie d’Or’, PRS Prize, Stockholm Electronic Arts, Noroit (France), HEAR (Hungary), ARTS XXI (Spain), CIMESP (Brazil), Destellos (Argentina). Numerous recordings are available, including two collections of his works Miroirs obscurs and Au-dèla (empreintes DIGITALes) and Schattenklavier on Shadow Piano (Innova).
Mikel Paul Kuehn – Perseverance: An Artist Rendering
In late February of 2021, I was astonished to discover that NASA made several raw recordings of the recently landed Mars 2020 Perseverance Rover available to the public. Inspired by the first ever recorded (atmospheric) sound from another planet, I began fantasizing about what the sonic environment of Mars might be like. This piece was constructed solely from four recordings capturing the sounds of the Martian wind, the rover driving, the rover’s mechanical parts (dust blower and various moving components), and the laser shots used to examine the properties of rocks. One additional recording was used: the inflight noise of the heat rejection fluid pump (recorded through the mechanical parts since there is no actual sound that propagates thought the vacuum of space). These minimal source sounds were then processed, spatialized, and combined/expanded into various suggestive textures. The result is my “artist rendering” of a fantastical narrative of the Rover’s journey though the sonic landscape of Mars. Its title is also a nod to the perseverance within each of us as we learn to navigate through the global pandemic. Perseverance: An Artist Rendering opens with an imaginary camera zooming from deep space onto the lonely flight of the spacecraft as it sets up for entry into the Martian atmosphere, then lands. In the short sequence immediately following, most of the source sounds that are used to build the piece are exposed in context with the work’s formal narrative. From this moment on, the journey moves from fairly literal to fictional, even absurd, as the rover drives though multiple sonic terrains such as a “machine” sequence, a “thunderstorm,” then encounters various “creatures” as it continues on its strange journey and eventual death.
Technical Information: This piece is composed in 3rd order ambisonics (HOA3) as 3D immersive audio. It can be decoded for virtually any format (down to binaural or UHJ stereo). Please contact the composer for the Ambix (16 channel) source file or a custom decoding (Binaural, Stereo, Quad, Octophonic, etc.).
American composer Mikel Kuehn has received awards from the Barlow Endowment, the Chicago Symphony, Composers, Inc., the Copland House, the Destellos Competition on Electroacoustic Music, the Alice M. Ditson Fund, the Flute New Music Consortium, the Fromm Music Foundation, the Guggenheim Foundation, the League of Composers/ISCM, and the Ohio Arts Council. His music can be heard on two New Focus Recordings portrait albums, Object/Shadow (2016) and Entanglements (2022). In fall 2023 he will join the composition faculty of the Eastman School of Music where he will also direct the Eastman Audio Research Studio.
Laurie Radford – Vagus II
Laurie Radford composes music for instruments, electroacoustic media, and performers in interaction with computer-controlled processing of sound and image. His music fuses timbral and spatial characteristics of instruments and voices with mediated sound and image in a sonic art that is rhythmically visceral, formally exploratory and sonically engaging. His music has been performed by Le Nouvel Ensemble Modern, Aventa Ensemble, New Music Concerts, Trio Fibonacci, Ensemble Transmission, Earplay, the Penderecki, Bozzini and Molinari String Quartets, and the Winnipeg, Calgary, Edmonton and Montréal Symphony Orchestras and is available on empreintes DIGITALes, McGill Records, PeP Recordings, Clef Records, Eclectra Records, Centrediscs and Fidelio Audiophile Recordings. Radford has taught composition and sonic arts at McGill University, Concordia University, Bishop’s University, University of Alberta, City University (London, UK), and is presently Professor of Composition and Sonic Arts at the University of Calgary.
Adam Stanovic – Goodnight, Tin Hau
“Between 2016 and 2020, I had the privilege of working in Hong Kong, as an examiner for one of the various universities. During my visits, which always lasted around a week, I stayed in the Causeway Bay area of the city where, jetlagged and unable to sleep, I would spend hours wandering the balmy, midnight streets. Disorientated and exhausted, I witnessed something unforgettable – the moment when the Hong Kong day collapses into night. Although the humidity lingers well into the early hours, this moment produces something of a pause… a breath… a gathering of forces… This moment was never silent, however. The city crackled, as if an electrical charge arced through the sweaty streets. Goodnight, Tin Hau uses recordings from my visits, along with an arch-form, in an attempt to re-live that moment. As I composed, however, I became increasingly aware of the changing political situation in Hong Kong, and I now reflect on those four years as part of a much more serious pause… a collapse… a gathering of forces… Goodnight, Tin Hau was realized in 2021 at the University of Sheffield Sound Studios and premiered on 21st Oct 2021 during the Resonant Pasts, Sonic Futures, Bangor, Wales. The piece was commissioned by the Groupe de Recherches Musicales, Paris. Goodnight, Tin Hau was finalist at Musica Nova 2021 (Prague, Czech Republic, 2021).
Adam Stanović started composing electronic music over twenty-five years ago. His works are mostly realised on a fixed medium, sometimes accompanied by instruments, electronics, film, and animation. Collectively, they have been performed in over 500 international concerts, and received prizes, residencies and mentions at competitions around the world, including: Bourges (France); Métamorphoses (Belgium); Destellos (Argentina); Contemporanea (Italy); SYNC (Russia); Música Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); Klingler ElectroAcoustic Residency (KEAR, USA); MusicAcoustica (China); Prix Russolo (France); and Red Jasper Award (USA).
For further information, see: www.adamstanovic.com
Jason Bolte – AridFlow
AridFlow was inspired by the spring thaw in the Gallatin Mountains south of Bozeman, MT. The work was commissioned by the Zaccho Dance Theater (San Francisco) and Artistic Director, Joanna Haigood. The composition was premiered as part of a Spring Thirst, presented by Mountain Time Arts.
Jason Bolte is a composer and educator. He currently resides in Bozeman, Montana with his wife Barbara, their two beautiful daughters, and friendly dog Allie. Jason teaches music technology and composition at Montana State University where he serves as the Director of the School of Music. Jason’s music explores the North American mountain west, modular synthesis and live performance, intersections of music, art, and science, and other areas he finds compelling.
Barry Truax – What The Waters Told Me (2022), a soundscape composition with 8 digital soundtracks
If we listen carefully to flowing water in all of its varied forms, we may begin to hear voices and ascribe human emotions to them. The voices may be argumentative, even angry, as at the start of our journey, but suddenly they become hushed as we enter a large cavern. A mysterious voice seems to give us commands as we await the next stage, while ethereal voices guide us along. The commands become more insistent until the waters burst forth with transcendent song in a celebration of water and life.
Barry Truax is a Professor Emeritus in the School of Communication at Simon Fraser University. He worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication, that deals with sound and technology, now in its 2nd edition. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Truax’s multi-channel soundscape compositions are frequently featured in concerts and festivals around the world. In 2015-16 he was the Edgard Varèse Guest Professor at the Technical University in Berlin.
Website: www.sfu.ca/~truax
Terry Trickett – Passeggiata
’Passeggiata’ is a piece of Visual Music based on Luciano Berio’s Sequenza IXa for solo clarinet. Composed in 1980, at a time when Berio was midway through his life-long exploration into the idiomatic potential of instrumental sound, Sequenza IXa makes extreme technical demands on the performer and, at the same time, invents a musical language that gives the clarinet a completely new mode of expression. Berio explores, at length, one specific harmonic field but avoids repetition by springing constant surprises in terms of speed, pitch and rhythmic variety. It slips easily between moments of orderly quiet and bursts of hectic notation when virtuosity becomes an essential element of the Sequenza’s theatricality. All in all, it’s an exercise in musical discovery that has required me to dig deep in finding visual imagery that seeks to enter the mind’s eye of the composer. In re-presenting Sequenza IXa as Visual Music, my approach has been to place some reliance on the use of Deep Dream artificial intelligence, inspired by neural networks in the brain and nervous system, to produce pictoralist imagery that, at least to my mind, reflects Berio’s journey of musical discovery. The resulting images, slightly out of focus and dream- like, provide moments of equilibrium and calm in an other-worldly ‘passeggiata’ in and around a mountain village in Liguria – the province in Italy where Berio was born and lived. By contrast, the visual patterns that I’ve used to ‘train’ my dream-like images are given free rein in providing a visual interpretation of Berio’s moments of surprise when he weaves fast and furious note patterns which collapse the piece, at intervals, into a radically disordered state. In Passeggiata, I’ve produced intimations of a natural world familiar to the composer. If, in the process, I’ve succeeded in adding to the emotional impact of the piece and aided an audience’s understanding of a formidable work, so much the better.
Working previously as an architect and designer, Terry Trickett has now become a digital artist performing Visual Music worldwide at new media festivals and conferences. Sometimes the inspiration for his pieces is primarily musical; at other times, he uses Visual Music as a means of tackling a difficult subject or putting forward a controversial point of view. Always, he aims to share his ideas by combining animated visual imagery with musical performance on solo clarinet. As a participatory form of communication, Terry Trickett finds that Visual Music is affective because it succeeds in engaging with audiences at both an intellectual and emotional level.
Hubert Howe – Breached by Storms
“Breached by Storms” is a short film with an 8 channel electroacoustic score. This work is conceived as an artistic response to environmental threats affecting coastal salt marsh areas, also known as salt ponds, which are important natural features of the coastal ecosystem. Each salt pond has a unique identity which can support a range of wildlife and coastal habitats as well as many important commercial and recreational activities. They typically are protected by barrier beaches that can be breached by storm surges, causing seawater incursions with potentially devastating consequences for fragile ecosystems. While anthropogenic climate change is increasing the severity of these events, other detrimental human impacts pose even greater dangers, exacerbated by societal inaction and the ethical breaches that philosopher Stephen Gardiner calls a “Perfect Moral Storm.” With a visual style that takes inspiration from Hokusai’s “The Great Wave Off Kanagawa,” this film juxtaposes fragmentary representations of dancers in motion with views of oceans and coastlines. The primary focus is the Trustom Pond Wildlife Refuge on Rhode Island’s south coast, which protects the state’s only undeveloped salt pond, providing habitat for over 360 species, including many migratory and local birds. This film is part of the “Salt Pond Project,” a series of intermedia works concerned with the natural history and impacts of human interventions in coastal environments. Inspired by earth’s natural beauty, including aesthetics of human involvement, this project is a response to the escalating crisis driven by the rapidly evolving human capacity to alter planetary ecosystems. Our concept embraces multi-dimensional approaches to a systems view of life in which humans are part of a larger, living whole, and acknowledges how lack of attention to crucial values combined with unquestioning acceptance of rational thought can create unhealthy dependence on ill-considered technological “solutions”.
Hubert Howe was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt. He was one of the first researchers in computer music, and Professor of Music at Queens College, where he taught from 1967 until 2011. He also taught at the Juilliard School from 1974 to 1994. He is currently Director of the New York City Electroacoustic Music Festival and Executive Director of the New York Composers Circle. Recordings of his music have been released by Capstone Records, Ravello Records, Ablaze Records and Centaur Records.
Brian Hernandez – Queue R
Queue R is an audiovisual composition (two-channel audio and single video) with a tripartite structure. Queue R explores the experience of the human being as a species in relation to the evolutionary process. During the beginning stages of humankind, the relationship between evolution and humanity was such that the human was totally at the mercy of all natural processes. According to conventional historical narrative, the human being was/(is) totally at the mercy of all natural evolutionary processes. Because of advancements in science and technology, a growing faction seeks to take control of the evolutionary process and intentionally alter the human being. The composition attempts to shed light on the subject by using figurative and abstract symbols and gestures
Brian Hernandez is an educator, performer, composer of audiovisual music and traditional ensembles. His works have been selected for performance across the USA, Europe, China, and Canada in various festivals and conferences such as NYCEMF, SEAMUS, WOCMAT, Bourges, and Cinesonika to name a few. He holds a BA in philosophy and political science from St Mary’s University, San Antonio, TX and an MA in music composition, from the University of North Texas. He completed his DMA in interdisciplinary digital media and performance (music composition) at Arizona State University in May 2021.
Wenbin Lyu – Nor Hope
Nor Hope was written for soprano and fixed media in the summer of 2021. The music was composed based on William Butler Yeats’s poem Death. The vocalist sings the melody without words, showcasing a soprano’s radiant high register. Most of the electronic sounds are generated and processed by the programming software. I used electronics to create a tranquil soundscape to fit the atmosphere of the poem. For presenting the music at a digital concert during the pandemic, I edited a music video that was filmed by the soprano, Stephany Svorinić, in Salem.
Wenbin Lyu is a US-based Chinese composer and guitarist. The composition written by Wenbin Lyu combines contemporary western techniques with ancient oriental culture. He seeks inspiration from nature, science, and video games. His works have been featured at International Computer Music Festival, New York City Electroacoustic Music Festival, Electronic Music Midwest Festival, IRCAM Forum, SEAMUS, National Student Electronic Music Event, and SPLICE Institute.
Calum Wilton – Depths
Created during a period of beta testing for the company Stability AI, Depths is a fixed media audiovisual composition that utilises AI-generated animation. The piece features an ambient soundtrack in combination with space-inspired imagery and aims to explore the potential of intermedia collaboration using an AI agent.
Calum Wilton is a music producer, DJ, lecturer and audiovisual composer from Staffordshire, UK. He studied Music Technology (BSc), Music Production (MA) and received a PhD scholarship from Staffordshire University in 2019. Currently, his works and research focus on various forms of audiovisual composition. In addition to his studies, Calum’s music has been broadcast and performed internationally, with productions released on several renowned labels.
Maura McDonnell – Visual Dérive (2019)
Visual Art and Video: Maura McDonnell. Music: Pierre Boulez, Dérive 1 (1984). Music Performed by: Ensemble Parallax with artistic director and conductor Peyman Farzinpour
Visual Dérive is a visual music journey into an enthralling imaginary world that is both adventurous and restrained, that shimmers and rests and yet is always balanced. The colours, forms and textures transform themselves from within a flat red surface. The red surface is surrounded with a shimmering trellis of grey. The visual forms emerge and become small motifs that engage in movements and changes that at one minute suddenly appear or disappear or at other moments gradually emerge and transform. Each motif is related to each other and to the next and over time they develop and change. The music is part of this imaginary world and it is like the music breathes in and through the visual elements. Sometimes it is as if the visual motifs and music motifs are fused as if belonging to the one instrument played by some magical visual music musician and at other times the motifs engage in a counterpoint of dynamics and motions. The overall effect has a sensory and emotional appeal. The visuals have been composed carefully and thus follow the steps of how a music composer might concern themselves with contrast and affinity, tension and resolution and bring us on a highly stylised aesthetic experience from beginning to end.
Maura McDonnell was commissioned by the Artistic Director Peyman Farzinpour of Ensemble Parallax to create this video for the ensemble’s performance of Pierre Boulez’s (1925-2016) music, Dérive 1 (composed in 1984).” Maura McDonnell is an abstract filmmaker, visual music artist, educator and academic. She is Assistant Professor at Trinity College, Dublin, Ireland in the Department of Electronic & Electrical Engineering, where her main teaching and student thesis supervision duties are for the M.Phil. in Music & Media Technologies course. She teaches modules on visual music and supervises thesis projects on audiovisual related topics and arts practice research. Her main arts practice focuses is on creating abstract experimental films with a musical expression. For these works, she works with her own music and sounds and also that of other composers and musicians. Recent collaborations have been with US based Ensemble Parallax, SYLK and pianist Svetlana Rudenko.
Tian Fu – Rap Composition: Challenging the Norms of Rap Music and Contemporary Art Music
My recent artistic research project focuses on the integration of two distinct areas of music: rap music (RM) and contemporary art music (CAM). The idea stems from my own identity as both a rapper and a composer. As a rapper, I have been involved in rap music since my teenage years, producing underground albums and performing concerts with my crew L.C.T. as one of the pioneers of rapping in Mandarin Chinese in my hometown Hohhot. As a composer, I have received formal training in art music (composition, piano, and music theory) and have composed music for acoustic instruments, voices (bel canto), fixed media, and live electronics. While the incorporation of elements of popular music into CAM is common (such as Bernhard Lang’s DW-cycle, Thomas Adès’s Asyla, and Du Yun’s Angel’s Bone), examples that specifically focus on RM and rapping voice are rare (such as Lang’s Paranoia). At the same time, boundary-pushing works that incorporate rap tend to be limited by established genre norms (such as Babatunde Akinboboye’s hip-hopera works and MoTrip and Jimek’s collaborative concert in 2018). Instead of emphasizing the opposition between art music and popular music, this project aims to find common ground and to explore the inclusive nature of “rap” and “”composition”” that challenges established norms in both the RM and CAM scenes. The project aims to answer questions such as: What distinguishes and unites the artistic practices in RM and CAM? How do these practices impact the author’s aesthetic decisions during the composition and performance process? Can certain musical elements be perceived as representing a specific musical tradition? And how are these practices perceived in a broader social and cultural context?
Tian Fu, born in Hohhot in 1989, is composer, rapper and beat-maker, currently an artistic research doctoral candidate at the University of Music and Performing Arts Vienna. He has composed a wide range of works including chamber opera, stage work for choreography, orchestral work and chamber works for Chinese instruments and mixed ensemble. In the field of hip-hop music, he joined the local hip-hop group L.C.T. as rapper and beat-maker under the stage name Croche since 2005. Several underground albums were released from 2006 to 2017.
Wenbin Lyu – Adlez
Adlez was composed in the fall of 2020, under lockdown. The idea for this piece is from a video game poster behind my work desk, The Legend of Zelda. Whenever I have a zoom meeting and observe myself from the laptop, I always see the poster showing Adlez instead of Zelda, so that’s how I randomly titled it. While writing this piece, I imagined myself adventure in this open-world game a lot. Therefore, this piece is a perpetual motion with various colorful timbres. This work is my first exploration and practice of the music programming language RTcmix, which I used to generate and process sound materials. Adlez was composed in the fall of 2020, under lockdown. The idea for this piece is from a video game poster behind my work desk, The Legend of Zelda. Whenever I have a zoom meeting and observe myself from the laptop, I always see the poster showing Adlez instead of Zelda, so that’s how I randomly titled it. While writing this piece, I imagined myself adventure in this open-world game a lot. Therefore, this piece is a perpetual motion with various colorful timbres. This work is my first exploration and practice of the music programming language RTcmix, which I used to generate and process sound materials. Adlez was composed in the fall of 2020, under lockdown. The idea for this piece is from a video game poster behind my work desk, The Legend of Zelda. Whenever I have a zoom meeting and observe myself from the laptop, I always see the poster showing Adlez instead of Zelda, so that’s how I randomly titled it. While writing this piece, I imagined myself adventure in this open-world game a lot. Therefore, this piece is a perpetual motion with various colorful timbres. This work is my first exploration and practice of the music programming language RTcmix, which I used to generate and process sound materials.”
Wenbin Lyu is a US-based Chinese composer and guitarist. The composition written by Wenbin Lyu combines contemporary western techniques with ancient oriental culture. He seeks inspiration from nature, science, and video games. Lyu received his degrees from China Conservatory (BA) and New England Conservatory (MM), and he is currently pursuing a Doctorate at Cincinnati-College Conservatory.
Vladimir Vlaev – Evolution
EVOLUTION is an instrumental and live electronics performance which creates an original relationship between the input of a physical gesture of a performer, the derived artistic sound output and its spatial distribution. Evolution is a sonic journey emerging from the subterranean chaos of the noise. It is a process of multiple sound transformations which finally reach coherence in the order and consonance of harmony. The journey from chaos to order, from noise to harmony is a symbolical sound representation of the evolution of our human civilisation. This maybe idealistic representation asks the question: are we able to reach the ultimate state of a harmony within the human society? Being historically driven through periods of disruption, war, clashes and oppression are we able to get to a stage of peace, equality and inclusion? Evolution is also an exploration of the capabilities of a digital processing engine developed to transform acoustic sound in real time. This instrumental and live electronics performance is a solo set in which the performer interacts with the computer in a balanced relationship in order to create a memorable sonic experience for the listener. It explores unconventional instrumental approaches as well as compositional strategies applied in real-time improvisatory domain. Furthermore, the performance delves into the magnetic properties of the hexaphonic pickup used as a sound source and as an input for a physically – digital multichannel feedback line. The sound transformations occupy a broad spectrum of musical expression between immersive slowly unfolding and evolving textures and emerging sharply articulated grainy sonic entities. The HexApp is an instrument which could be described as an acoustic – digital hybrid, naturally – artificial, traditionally – innovative hybrid of 6 independently depending on each other, unpredictably predictable constituents of a dynamically – motionless soundscape.
Vlaev is composer, performer, music producer, sound designer and educator. His work vary from solo instrumental compositions with or without electronics, through widely distributed chamber music forms to orchestral compositions with use of electronics, film music as well as electroacoustic music for fixed media and live electronics performances. His work has been presented at festivals and venues such as: NYCEMF (New York), SOTU Festival, (Amsterdam), Sounds of Silence Festival, (The Hague), SONIX (Brno), Sound & Relation, Computer Music Space (Sofia), Azimuth, Grondwater Festival, WFS Festival, ReWire Festival (The Hague), WORM (Rotterdam), STEIM (Amsterdam), klingt gut! Symposium on Sound (Hamburg) and others.
Hubert Howe – Structuring Inharmonic Spectra by Means of Frequency Shifting
In this paper, I will describe how inharmonic spectra can be structured coherently by means of frequency shifting. I will describe how the process works and demonstrate examples taken from compositions that I have written. The defining property of harmonic partials is that they merge into a single tone, which is perceived as the pitch. The partials themselves are heard as the timbre or tone colour of the sound. Inharmonic partials do not merge into a single pitch, but they do retain some of the timbral aspects of harmonic partials. In frequency shifting, a constant value is added to each of the frequencies of a harmonic spectrum, a process that preserves their differences but not their ratios, thus creating an inharmonic spectrum. Frequency shifting has different consequences if the frequencies are shifted up or down. Shifting up causes the partials to span a greater interval, and shifting down a smaller one. Any shifting may move the components into ranges that may or may not be audible to humans. While tones produced by frequency shifting are unlike harmonic tones, we can still hear melodies and harmonies in music created with them. Many different examples of these sounds will be played in my lecture.
“Hubert Howe was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt. He was one of the first researchers in computer music, and Professor of Music at Queens College, where he taught from 1967 until 2011. He also taught at the Juilliard School from 1974 to 1994. He is currently Director of the New York City Electroacoustic Music Festival and Executive Director of the New York Composers Circle. Recordings of his music have been released by Capstone Records, Ravello Records, Ablaze Records and Centaur Records.
Alistair Zaldua – Ochre, Red
“ochre, red” is a devised and improvised piece for e-violin/viola (a hybrid, 5-string instrument) and live electronics that develops my concept of ‘interactive control’. This is an ongoing approach that I am developing as an improvising performer that allows me to present music for string instrument and live electronics combining the ability to play flexibly without the need for additional performers or a cluttered set-up. This results in music that can be at the same time complex and also accessible to a range of audiences. The basis of my electronics (all in MaxMSP) are: a simple synthesiser, a live sampler, four 2d.wave objects, a set of filters, and 2 outputs. This is employed to establish a layered performance where the ‘interactive control’ is achieved via e-violin/viola sampling. I am interested in the possibilities that are opened up by, firstly, a direct functional relation between myself and the electronics and, secondly, audible differences in the sonic relationship or proximity between the electronics and performer. This, further, invites the audience aurally into the performance aspect of sampling while sometimes subverting their perception of sampling via non-linear sonic relationships. As an improvisation that interacts with a max/MSP patch, there is no traditional notation or score for “ochre, red”. Instead, this is a devised performance that is expanded with each of its presentations. The initial version of this piece was performed in 2022 at Access Space in Sheffield, and began as a freely improvised work using a small selection of settings. For NoiseFloor, I propose to present a more developed version of this piece drawing on previous performative experiences. Nevertheless, the piece maintains its dual identity as an improvisation and as a composition that operates within a limited expressive and timbral space.
Alistair Zaldua is a composer, conductor, and improviser. His work has been performed internationally and by performers and ensembles for contemporary and experimental music. Most recent collaborations have been with improvisers such as Christoph Gallio (Baden, Switzerland) and Franziska Baumann (Bern), Sam Bailey (Canterbury), and Pascal Pons (Freiburg). Alistair has performed work for organ and live electronics in duet with Lauren Redhead for over ten years. He has written on improvisation and notation, and has appeared on Deutschlandfunk Kultur, Hr2, and SWR.
Cecilia Suhr – I, You, We (v.2)
I, You, We (currently presented here as a video version) is originally an interactive audio-visual performance which is created to overlay our mirror image with that of others, thereby blurring the concept of “me vs. you” into a collective “we.” This work explores how blurring one’s vision of self might allow for the transformation of singular self-identity into collective being. Breaking down the normative concept of spectatorship and audience, this work strives to understand how the media representation of different races and genders can be reconfigured in the context of interactive audio-visual live performance. How can seeing one’s own self-representational image on a screen overlaid with images of others affect one’s perceptions and understanding of self in relation to others? How will the viewer’s gaze be affected when sound is simultaneously triggered? How can we break down or disrupt the common impulse to categorize people at first glimpse? Can we tap into a collective consciousness where deeper connectivity within the human race is realized, felt and experienced, despite other differences? These challenging questions form the backdrop of this provocative interactive media performance. As audiences are invited to stand in front of the camera, their images are projected onto a screen and will be blended in with the previous person’s face via a face-tracking technique; when the camera detects the face, a corresponding sound will also be simultaneously triggered and played aloud in the space. In addition to interactive camera installation, the violin performance recreates the colorful portraits of audiences’ blurred faces to celebrate one human race via pitch tracking.
Cecilia Suhr is an intermedia artist and researcher, multi-instrumentalist (violin/cello/voice/piano/bamboo flute), multimedia composer, interaction designer, painter, author, and improviser. She has won multiple awards in the field of visual art, music, interactive media, and academic research, including the MacArthur Foundation, DML Research Grant Award (2012), Pauline Oliveros Award from the IAWM (2022), Silver Medal Award from the International Cambridge Music Competition (2023), Bronze Medal Winner from the Global Music Awards (2022), Best of Competition Winner in Interactive Media and Emerging Technologies from the BEA, Festival of Media Arts Competition (2023), Saint Michael Achievement Medal from International Juried Fine Arts Competition, (2013), an Honorable Mention in the Mixed Media Category from the NYC International Fine Art Contest held by Gateway Art Center NYC (2016), a People’s Choice Award, Juried Exhibition, Pop Revolution Gallery, OH (2015), Special Recognition Award from the International Abstracts Art Competition, Light Space & Time Online Art Gallery (2012). Her creative work has been featured at the NYCEMF, ICMC, SEAMUS, EMM, SCI, International Multimedia Arts Festival, New Music Gathering, Splice Festival, Hot Air Music Festival, Moxonic Festival, Beast Feast, ISSTA, Ammerman Center Performing Media Arts Festival, Festival of Contemporary Art Music, among many others. She is currently an Associate Professor of Humanities and Creative Arts at Miami University Regionals, OH.
James Dooley – formuls: GRAZpatterns
GRAZpatterns is a live performance that explores musical patterns in an improvisatory way using the formuls digital musical instrument. The sound structures that emerge are the result of manipulating pre-planned musical patterns by interacting with the perceived and hidden affordances of the formuls system. This process yields a combination of anticipated and unexpected musical outputs that teeter between elegant tones and uncomfortable sonic distortions, structurally forming a larger complex of patterns. The performance emerged out of an artistic residency at the Institute of Electronic Music Graz in 2022. The residency was an opportunity to examine and reconcile the schism that had emerged between the creative audio processing techniques developed in my studio work and the inability to utilise these in live performance. The techniques explored in compositions such as “”afterthedeathofego”” and “”beforethetitrationofpanacea”” use a specific set of audio processes to deconstruct and rework improvisations performed with the formuls digital musical instrument—a synthesis-based performance environment. They rely on extrapolating extracts from a single improvisation, thus transforming limited amounts of musical material into larger compositional structures. Heavily processed, glitched, extreme time stretched and pitch shifted iterations of these extracts—often variations of the same source material—are layered together to form rich, dense textures. These techniques use studio-based tools that are typically difficult to employ and control in live performance. During the residency, the formuls digital musical instrument was further developed to enable these audio processing techniques to be used in a live performance situation, enabling the sound worlds of my studio and live practice to align. This work feeds into the broader theme addressed by my artistic research: how can we approach designing digital musical instruments that allow musicians to synthesise sounds and manipulate rich timbres intuitively and with ease?
James Dooley is a musician, artist and researcher based in the Midlands, UK, who performs under the pseudonym formuls. Primarily working in the medium of sound, his performance and installation works explore a combination of interaction design, audiovisual and environmental elements that examine the boundary and interaction between autonomous and synchronous emergent forms. Frequently utilising generative and algorithmic techniques, hidden connections between the ideas examined in his work are revealed through a digital conduit. His works have been exhibited internationally at festivals including: Longyou Grottoes International Festival (CN), Birmingham Weekender (UK), Lunar Festival (UK), London Design Festival (UK), SPECTRA (MY), SonADA (UK), Electric Nights (GR), Slingshot (US). He is Lecturer in Music Technology at The Open University.
https://formuls.bandcamp.com | https://vimeo.com/formuls
Dario Savino Doronzo – Reimagining Opera & Reimagining Aria. The “rewriting” of classicism in modern jazz.
PERFORMERS: Dario Savino Doronzo, Flugelhorn | Pietro Gallo, Piano accompaniment. COMPOSER: Daniele Sardone
“Memory, research and modernity are the key elements that follow a unique path in terms of effects and sounds. Honouring the past in order to have a dialogue with the present is the ambitious goal of my project. Fil rouge is the theme of the “re-reading”, a stylistic and aesthetic figure suitable for joining two such different worlds as classical music and the more fluid modern jazz. The project retraces a path in synergy with the ideas of the French philosopher Paul Ricoeur who states that the music rises above the intentions of the authors of classicism who created them to “produce” and “recreate” another meaning, autonomous and new, in which explanation and understanding are united and not contrary in the interpretative process. The key questions in my research are:[1] How does music rise above the intentions of the classicist composers who created it? [2] Can there be a strong relationship between music and language? [3] How can we revive “classicism” in the modern? Reproposing the combination of classical music and jazz music is certainly not new. The two genres met and blended in the early twentieth century in the works of avant-garde composers who loved to influence “”classical music”” with the new musical trends of the time. “Disassemble” and “reassemble” classical works with modifications and variations on a melodic, harmonic, timbric and rhythmic level leads the listener to fully savor the true value of compositions which, still today, continues to surprise us. The Italian Opera regain a new power and path in the actual time. An incessant “panta rei” of landscapes, sounds, colors that refer to distant cultures, a continuous and fruitful inspiration for new sonorities that, after hundreds of years, still move the mysterious strings of our soul.
Dario Savino Doronzo graduated in Trumpet, Jazz Music, Direction for Choir, Technology of Sound. Moreover, he also attended the Tuning In! programme at the mdw – University of Vienna. He has performed, as a soloist, in major Concert Halls: Carnegie Hall NYC, Auditorium Juan Victoria of San Juan (AR), ITG Conference San Antonio (TX), University of Arts of Tirana (AL), Yasar University of Izmir (TR), Coimbra University (PT), Auditorium Parco della Musica of Rome (IT), Studio Acusticum of Piteå (SE), Niš University (CS), etc. He is graduated and perfected in Construction and Sound Engineering. For DiG Label he recorded CD Reimagining Opera and CD Reimagining Aria. Devoting also to teaching and musical research, he held courses and seminars at Universities in Italy, Argentina, Greece, Serbia, Turkey, Nederland, Portugal, Croatia, Austria, etc. PhD Candidate, he has written appreciated essays and papers. He actually teaches at U. Giordano Conservatory in Foggia | Rodi Garganico.
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