By concept a musician, with a bent for theory and analysis,
integrated with academic studies, independent research,
instrument and composition skills (oboe, piano, voice,
instrumental and electronic composition). Conceives of
his progression in sound as an inspired opportunity, both
elective and casual, for communication and relationing.
Founder, critic or activist of productive, organizational
and didactic realities (including Acusmatica, Aida, Artenauti,
Futura, Surphase), promoting contemporary creation and
rituality.
(Zürich 1967) has studied Electroacoustic Composition
with Giorgio Nottoli; Oboe with Bruno Incagnoli and
Andrea Whitcomb; Composition with Edgar Alandia and
Aldo Clementi. He has written Instrumental Music for
solo instruments, and chamber ensembles, Electronic
Music for solo intruments, electronics and tape. Recently
devoting to Acousmatics, at present working to improve
Experimental Live Sets. Member participant of Adriano
Lanzi’s instrumental improvisation group, has
been part of the “Futura” Electronic Music
Festival crew in France. Lately among the promoters
of “Surphase” and “Acusmatica”,
projects mainly focusing on Experimental and Braindance
Electronics.
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Education to Sound (three months course or annual)
Listening Practice: to resound, discover and interprete
Perception. Sound Ecology. Information related to
Language
Musical Theory&Analysis. Overviews of Spectromorphology
Introduction to Computer Music
Audio Recording and Playback. Sound Synthesis
Electroacoustic Composition
History (Electronic Music&Instruments). 20th
century Art
Past and Current State of Electroacoustic Practice
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Electroacoustic Composition (biennial)
Introduction to Computer Music. Recording and
Playback
Sound Synthesis&Processing. Digital Instrument
Design
Numbers, Maths and Computer Programming
Creative Attitude, Composition and Notation
Choosing Instruments and “concrete”
Objects
Composing Ritualism: Social and Spiritual Forms
Interfaces and Performance Needs.
Concert and Studio Audio Set-Up
Acousmatics. Mixed Media.
Music for Acoustic Instruments & Electronics.
Organizing or Participating to Events.
Listening Practice (to resound, discover or interprete)
Perception. Sound Ecology. Information related
to Language
Self-reflexive Inquiry concerning Sound and Musical
Structure
Spectromorphology (reference to P. Schaeffer)
History (Electronic Music&Instruments). 20th
century music
Current State of Electroacoustic Arts and Practice
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Music Technology (triennial)
Real-time. Space. Mapping and Control Interfaces
Technology Development. Science and Electronics
Innovation. The “Unknown” as future
Data
Visuals and Sound
Creative Attitude, Composition and Notation
Algorythms. Sound Synthesis. Sound Processing
Numbers, Mathematics and Computer Programming
Interfaces and Performance Needs
Concert and Studio Audio Set-Up
Acousmatics. Mixed Media
Music for Acoustic Instruments & Electronics
Organizing or Participating to Events
Concerts, Soundscapes, Installation, Clubs and
Raves
Perception. Sound Ecology. Information related
to Language
Sharing Information and Experience with Humans&Machines
Self-reflexive inquiry and Criticism,
concerning Sound and Musical Structure
Spectromorphology (reference to P. Schaeffer and
D. Smalley)
History (Electronic Music&Instruments). 20th
century art&music
Current and Future States of Electroacoustic underground/art
Practice
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