Post on 29-Nov-2014
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School of Electronic Music A.Y. 2011-12
Electroacoustic Music Composition: a personal approach to Acousmatic
and Live Electronics works.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Which is the best way for a musician to present his own work?
What does it really mean to present his own musical work?
with no doubts this is an hard task…
Introduction (1/3)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
What is the meaning of being a musician today?
How many people among our parents and close friends understand what are we doing?
Are you “art for art’s sake” supporters?
Introduction (2/3)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“I had an obsession: a new instrument that would free music from the tempered system.” (E. Varese)
ORGANIZED SOUND
Introduction (3/3)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
An overview of Edgard Varese fundamental ideas.
My compositional language key points. The fascination of sound: an Electroacoustic
trilogy on traditional-popular music from Salento. ..:Electroshop:.. and Etheric Bodies: a personal
approach to live electronics. Falling, a Video-art-music work: electroacoustic
music and the moving image.
Summary
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Very few compositions which have strongly contributed to the evolution of music language.
Sound as living a matter, the primary material of his musical language.
Electronic music for natural instruments. Musicians as sound generators. To listen with unadulterated ears.
Edgard Varese fundamentals (1/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Rhythmic complexity and tonal diversity.
Indefinite pitched percussion, free atonality, musical forms which exist independent of tradition.
Ques t i ng f o r new t imb ra l sound possibilities.
Edgard Varese fundamentals (2/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“I had an obsession: a new instrument that would free music from the tempered system.” “The instruments that the electronic engineers must perfect, with the collaboration of musicians, will make possible the use of all sounds - not only arbitrary ones - and also, in consequence, the performance of any tempered scale music. They will be able to reproduce all existing sounds and collaborate in the creation of new timbres.”
Edgard Varese fundamentals (3/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Desert (1950-54): for Orchestra and magnetic tape.
Poeme Electronique (1957-58): for magnetic tape. The first multimedia work of art.
Edgard Varese fundamentals (4/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“The corporealization of the intelligence that is in sounds.” “It was a new and exciting conception and to me as spatial - as moving bodies of sound in space, a conception I gradually made my own.”
Edgard Varese fundamentals (5/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“We have actually three dimensions in music: horizontal, vertical, and dynamic swelling or decreasing. I shall add a fourth, sound projection - that feeling that sound is leaving us with no hope of being reflected back.”
Edgard Varese fundamentals (6/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“The music [on tape] was distributed by 425 loudspeakers; there were twenty amplifier combinations... the loudspeakers were mounted in groups and in what is called “sound routes” to achieve various effects such as that of the music running around the pavilion, as well as coming from different directions... etc. For the first time I heard my music literally projected into space.”
Edgard Varese fundamentals (7/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“Rhythm is too often confused with metrics. Cadence or the regular succession of beats and accents has little to do with the rhythm of composition. Rhythm is the element in music that gives life to the work and holds it together. It is the element of stability, the generator of form. In my works, for instance, rhythm derives from the simultaneous interplay of unrelated elements that intervene at calculated, but not regular, time lapses. This corresponds more nearly to the definition of rhythm in physics and philosophy.”
Edgard Varese fundamentals (8/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“One of the greatest assets that electronics has added to musical composition is that of metric simultaneity. My music being based on movements of unrelated sound masses I have long felt the need, and anticipated the effect, of having them move simultaneously at different speeds.”
Edgard Varese fundamentals (9/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“There will no longer be the old concept of melody or interplay of melodies. The entire work will be a melodic totality.”
Edgard Varese fundamentals (10/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
• Music is a spatial phenomenon and therefore fuctions in three dimensions.
• Rhythmic, harmonic, and melodic material undergo constant variation. This material is linked to form "sound masses" with connecting strands of melodic material.
• Rhythm is “the generator of form”, that which holds the work together.
• Vertical and horizontal material are interchangeable. • Timbre is as important as pitch and will distinguish one sound
mass from another.
• Sound possesses inherent intelligence.
Edgard Varese fundamentals (11/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“When new instruments will allow me to write music as I conceive it, the movement of sound masses, of shifting planes, will be clearly perceived, taking the place of linear counterpoint. When these sound masses collide the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles… In the moving masses you wou ld be consc ious o f the i r transmutations when they pass over different layers, when they penetrate certain opacities, or are dilated in certain rarefactions.”
Edgard Varese fundamentals (12/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Sound-mass Refers to a body of sound with certain specific attributes in interval content, register, contour, timbre, intensity, attack, and decay.
Idea A motivic fragment in either the winds or percussion.
Expansion of an idea Sound masses seem to emerge out of the expansion of an "idea" based on an internal structure and may continue into sonic space.
Projection of sound masses
The sense of projection of sound-masses depends on the source location as well as the independent movement of each sound-mass as opposed to the others.
Edgard Varese fundamentals (13/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Penetration When "sound masses" collide, the interaction tends to bring about "penetration", during which certain attributes of one "sound-mass" are transformed to another.
Transmutation When the attributes of a sound or sound-mass are transferred (penetration) to another, changing the attributes of each sound or sound-mass. With a single pitch it describes the change of color by degrees over a wide range (which electronic machinery made possible in a very perfected manner).
Rhythm The simultaneous interplay of unrelated elements that intervene at calculted, but not regular, time lapses.
Form The consequence of the interaction of attractive and repulsive forces evolved out of an “idea”. (form is the result of process)
Edgard Varese fundamentals (14/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Sound as living matter. Sound as an object. Projection of sound-masses
moving into sonic space. Form as consequence of a
process.
Edgard Varese fundamentals (15/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“I was not influenced by composers as much as by natural objects and physical phenomena.”
Edgard Varese fundamentals (16/16)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
● Fragmentation ● Segmentation ● Reflection ● Soundscape and its possible perspectives and layers ● Foreground (figure) and background (texture)
processing ● Gestural vs. textural ● Re-construction of a meaning, other than the original
one
Personal compositional language key points
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Year 2000: the encounter with a popular tradition.
An Electroacoustic trilogy on traditional-popular music from Salento (1/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
“Ammaraciccappa”: Ecstatic Rhythms of South Italy, Desert Voices and Metropolitan Sounds.
“Al Qantarah”: Electro-World Music from Salento and Maghreb.
An Electroacoustic trilogy on traditional-popular music from Salento (2/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Electroacoustic trilogy: - Canaja Canaja - Moroloja - Envoys
An Electroacoustic trilogy on traditional-popular music from Salento (3/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Canaja Canaja An Electroacoustic song based on
a popular detention song
An Electroacoustic trilogy on traditional-popular music from Salento (4/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Moroloja Is inspired by one of the funeral dirges collected by Brizio Montinaro in the late 1970s in the strip of land known as Grecìa salentina, a small area in the South of the Apulian region where griko, a hellenic dialect, is still spoken.
An Electroacoustic trilogy on traditional-popular music from Salento (5/11)
Example of the original chant
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
An Electroacoustic trilogy on traditional-popular music from Salento (6/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Beddha ci stai luntanu
Dolce lo mio drudo
SICILIAN, attributed to
FREDERICK II [1194 - 1250]
source: Codex Reina 6771 (Paris)
An Electroacoustic trilogy on traditional-popular music from Salento (7/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
An Electroacoustic trilogy on traditional-popular music from Salento (8/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
An Electroacoustic trilogy on traditional-popular music from Salento (9/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
An Electroacoustic trilogy on traditional-popular music from Salento (10/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Envoys Amsterdam 08/09/2007 International Gaudeamus Music Week
ECPNM Live Electronics Contest Final Concert
An Electroacoustic trilogy on traditional-popular music from Salento (11/11)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
..::Electroshop::.. is a “concrete” sound workshop.
Sounding artworks (“concrete” musical instruments).
Original audio-video processing software (Max/MSP/Jitter).
Musical composition, together with artworks, conforms to the concept of a “unique work of art”.
Audio tactile principle ➡ Performative actions on sounding artworks.
Video source is used as an input for live sound processing.
..::Electroshop::.. and Etheric Bodies (1/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Appropriate technological environment ➡ aestethics.
Aesthetics is strongly influenced by a subject that is fundamental to me:
Communication and interaction between humans
..::Electroshop::.. and Etheric Bodies (2/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
..::Electroshop::.. and Etheric Bodies (3/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Etheric Bodies for sounding sculptures, theremin, trumpet, bass clarinet, audio sequencing and live electronics.
Composed and produced at ICCMR in Plymouth (UK)
..::Electroshop::.. and Etheric Bodies (4/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
ETHERIC BODIESSCORE TIMING
0 2.5 12 22 30 50 55 1 01.08
SEQ. 1 TR TR TR G1=ONSC1+LE
CL TR CL G2=ONCL
01.14 01.23 01.27 01.36 01.42 01.47 01.50 02.00 02.12
SC2+LETR
CL TR CL TR CL SC1=FOUT TR TR+CL=OFF
02.17 02.27 02.53 02.56 03.05 03.10 03.16 03.22 03.28
SC1=FIN CL+TR TRCL=OFF
CL CL TR CL TR CL
03.42 03.52 04.00 04.07 04.12 04.19 04.29 04.40 04.53
ALL=FOUT ALL=OFF SEQ. 2 CL THER=ON CL CL G3=ONLE
CL+TR
05.03 05.13 05.18 05.23 05.28 05.43 05.48 06.03 06.08
G4=ONLE
THER=OFF SC3&4 TR CL TR CL TR CL
06.15 06.23 06.35 06.43 07.01 07.08 07.11 07.15 07.21
TR CL THER=ON SC3&4=FOUT
TR+CL TR THER=OFF SC3&4=FIN
CL TR CL
07.25 07.29 07.31 07.33 07.38 07.51 08.03 08.16 08.21
..::Electroshop::.. and Etheric Bodies (5/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
Etheric BodiesA. Chiaramonte
SEQ1
PERM2-1
PERM4-1
PERM6-1
PERM1-1
PERM3-1
PERM5-1
PERM7-1
SEQ2
PERM2-2
PERM4-2
PERM6-2
PERM1-2
PERM3-2
PERM5-2
PERM7-2
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..::Electroshop::.. and Etheric Bodies (6/7)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
..::Electroshop::.. and Etheric Bodies (7/7)
Etheric Bodies EMUFest 2010 S. Cecilia Conservatoire - Rome
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Falling: a Video-Art-Music work (1/2)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Falling: a Video-Art-Music work (2/2)
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Thank you for your kind attention Antonino Chiaramonte’s contacts E-mail: antonin.chiaramonte@gmail.com Web: www.antoninochiaramonte.eu
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
Varese, Edgard. "The Liberation of Sound - 1936 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 196-198. New York: Holt, Rinehart and Winston, 1967.
"Rhythm, Form and Content - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 202-204. New York: Holt, Rinehart and Winston, 1967.
"Music as Art and Science - 1939 Lecture," Varese, Edgard. In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 198-201. New York: Holt, Rinehart and Winston, 1967.
"Spatial Music - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 204-207. New York: Holt, Rinehart and Winston, 1967.
"The Electronic Medium - 1962 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 207-208. New York: Holt, Rinehart and Winston, 1967. Varese, Louise. Varese: A Looking Glass Diary. New York: Norton, 1972.
Edgard Varèse, "Il suono organizzato", scritti sulla Musica, Milano, Ricordi-Unicopli, 1985.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte