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14Th Conference - Electroacoustic Music: Is It Still a Form of Experimental Music?

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14Th Conference - Electroacoustic Music: Is It Still a Form of Experimental Music? EMS18 Electroacoustic Music Studies Network - 14th Conference - Electroacoustic Music: Is it Still a Form of Experimental Music? Villa Finaly Florence EMS18 - Florence - Villa Finaly 20-23 June 2018 EMS18 Villa Finaly Florence 20-23 June 2018 Electroacoustic Music: Is it Still a Form of Experimental Music? Contents EMS Network 5 Conference Presentation 6 Committees 7 Conference Co-Chairs 7 Steering Committee 7 Review Committee 8 Keynote Speeches 9 Lelio Camilleri 9 Laura Zattra 11 Conferences Programme 14 Wednesday, 20 June 14 Thursday, 21 June 16 Friday, 22 June 18 Saturday, 23 June 21 Paper Abstracts & Bios 24 James Andean 24 Massimo Vito Avantaggiato 26 Andrew Blackburn 27 Manuella Blackburn 28 Eraldo Bocca and Dante Tanzi 29 Martha Brech 31 Joe Cantrell 34 Marcelo Carneiro de Lima 35 Michael Clarke 36 Tiernan Cross 36 Pablo Cuevas 38 Anthony Paul De Ritis 40 Luc Döbereiner 42 Frédéric Dufeu, Michael Clarke, Peter Manning 44 Simon Emmerson 46 Carl Faia 48 Peter Falthin 50 Daniela Fantechi 52 Jamie Fawcus 53 Sabine Feisst 54 "2 Martin Fla#ar 56 Koichi Fujii 58 Marij van Gorkom 60 Owen Green, Pierre Alexandre Tremblay, Gerard Roma 61 James Harley 63 Katt Hernandez 65 Olaf Hochherz 67 Ulf A. S. Holbrook 69 Terri Hron 71 Satsuki Inoue 73 Hiromi Ishii 75 Paul Jackson 76 Georgia Kalodikis 77 Andrew Knight-Hill 78 Yuriko Hase Kojima 80 Jaime Oliver La Rosa 81 Mathieu Lacroix 83 Florence Lethurgez 85 Lin-Ni Liao 86 Martin Link 88 Theodoros Lotis 90 Eric Maestri 92 Filipa Magalhães 94 Peter Manning 96 Jônatas Manzolli 96 Marco Marinoni 97 Erika Matsunami 99 Clovis McEvoy 100 Raúl Minsburg 102 Jun Mizumachi 103 Mikako Mizuno 104 Steven Naylor 106 Per Anders Nilsson 108 Andreia Nogueira 110 Robert Normandeau 112 Garth Paine 113 Jean Penny and Andrew Blackburn 115 Isabel Pires 117 Nathanaëlle Raboisson 119 "3 Felipe Ribeiro 121 Gerard Roma 122 Lula Romero 123 Judith Romero Porras 125 Danilo Rosseti and Jônatas Manzolli 126 Luisa Santacesaria 128 Simonetta Sargenti 130 Dante Tanzi 132 Pierre Alexandre Tremblay 132 Jan Urbiks, Anna-Lena Vogt, Martha Brech 132 Anna-Lena Vogt 134 Riccardo Wanke 134 Yinuo Yang 136 Masayuki Yasuhara 138 John Young 138 Bai Zhao 141 Concert Tempo Reale 143 List of Represented Countries 144 Sponsors and Participating Institutions 145 CICM 145 IReMus 146 MTI2 147 TEMPO REALE 148 Notes 149 "4 EMS Network EMS Network is an international initiative which aims to encourage the better understanding of electroacoustic music in terms of its genesis, its evolution, its current manifestations and its impact. EMS Network was initiated when Marc Battier (MINT/IREMUS/ EMSAN - Institute of Research in Musicology and Sorbonne University) and Leigh Landy (MTI Research Centre - De Montfort University) both felt that a recognised platform for sharing scholarship in this field was missing. The creation of a bilingual conference platform specifically focused on relevant areas seemed to be the logical first step towards resolving this issue. They proposed a meeting that became part of IRCAM’s Résonances activities in 2003 entitled “Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools” which was to become the first EMS Network event, be it prior to EMS being launched. Subsequent to this event, they were joined by Daniel Teruggi (INA/GRM) who was to become the third Executive Director of EMS. This site has been created to share EMS Network activities and to act as an information hub in terms of activities related to its aims. EMS Network has been organised to fill an important gap in terms of electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word, ‘network’ is of fundamental importance as one of our goals is to make relevant initiatives more widely available. "5 Conference Presentation In the early years of musique concrète Schaeffer proposed that this new approach was a form of experimental music. Of course, during this period and later, others were to use this term as well, meaning something slightly different. Still, the rationale that organising sounds was an innovative form of music making was clearly a logical and just thing to say. How true is this today? Has experimentation and innovation been overtaken by skill and technique? Today, the term electroacoustic music now encompasses a wide variety of practices and even genres. Seventy years after the birth of concrete music, it has now become very difficult to circumscribe what electroacoustic music is or can be, because it is so diversified and has so many different styles. Clearly electroacoustic music has come a long way over the last 70 years and many will clearly state that (aspects of) their work are indeed experimental. On the other hand, there are many who have claimed, for example, that a good deal of acousmatic music has common tendencies and some even go so far to suggest that much of it sounds similar. In the field of musicology, new impulses to research are provided by various forms of technical experimentation. New musical interfaces, bio sensors, the return of hybrid synthesis and DIY devices exemplify challenges for performance studies or creative process analysis. "6 Committees Conference Co-Chairs Marc Battier Institute for Research in Musicology - IReMus, Sorbonne University, Paris, and Aichi University of the Arts, Japan Pierre Couprie Institute for Research in Musicology - IReMus, Sorbonne University, Paris Leigh Landy Music, Technology and Innovation Research Centre - MTIRC, De Montfort University Nicolas Marty Institute for Research in Musicology - IReMus, Sorbonne University, Paris Anne Sèdes Centre de recherche en Informatique et Création Musicale - CICM/ MUSIDANSE, University Paris 8 Daniel Teruggi Groupe de Recherches Musicales, Paris Steering Committee Marc Battier Leigh Landy Daniel Teruggi "7 Review Committee Miriam Akkerman Andrew Blackburn Tatjana Böhme-Mehner Bruno Bossis Bill Brunson Michael Clarke Fabian Czolbe John Dack Ricardo Dal Farra Cécile Davy-Rigaux António de Sousa Dias Frédéric Dufeu Simon Emmerson Fuyuko Fukunaka Kerry Hagan Hiromi Ishii Yuriko Kojima Lin-Ni Liao Yuan Liu Raúl Minsburg Mikako Mizuno Adrian Moore Rosemary Mountain Rica Narimoto Naotoshi Osaka Jean Penny Isabel Pires Martin Supper Viviane Waschbüsch Laura Zattra Xiaofu Zhang "8 Keynote Speeches Lelio Camilleri Conservatorio di Musica G. B. Martini, Bologna / Tempo Reale, Florence Friday, 22 June - 18:30 - Richelieu Hall Exploration vs. experimentation: the relation between material and musical discourse In regard to the term “experimental music”, John Cage made two assertions. The first was that the real experimental music is the one whose results cannot be forecasted. In his second assertion he refused the term, saying: “My music is non-experimental. The experiments have been done before composing the music.” Furthermore, the term “experimental” may cause a negative interpretation: something experimental can be understood as something temporary, not definitive, transitional. Starting from this affirmation, it could be very difficult to state that Symhonie pour un Homme Seul, Gesang der Jünglinge or Visage are pieces of an experimental nature, belonging to a transitional, not definitive period. They are masterworks which well express an important, not transitional, phase of the history of electroacoustic music. Therefore, in my view, the term “experimental” carries a great degree of ambiguity. In order to better explain the innovative elements of electroacoustic music and the pivotal role of some pieces in the creation of new directions in this language framework, a different term has to be used. Undoubtedly, electroacoustic music has meant a great impact in terms of expanding the concepts of sound world, structure and compositional organization. Even in its first historical experiences, the compositional output presented a series of important pieces whose traits were far from being experimental, in the sense of being unpredictable and transitional. "9 It follows that the long time period in which electroacoustic music developed could be better explained in terms of “exploration”. With the term “exploration” I mean the research of a new relation between sound material and form, and a new development of one of the major basic aspects of electroacoustic musical language. Exploration can also be considered in relation to the form and the narrative possibilities of the new sounding world. The long time period of the development of electroacoustic music can also be divided by taking into account some pieces whose sounding and structural explorations have given new directions and opened new paths. In this paper, I will briefly analyze the features of these pieces, their exploration of peculiar aspects of electroacoustic music languages and their relevance in establishing new directions. These directions can be seen in terms of exploring new structures, new dramaturgies and in the extension of sound material. The development or the beginning of new genres in electroacoustic music can be seen as a result of a new extension of its basic features. Biography Lelio Camilleri (Rome 1957) is Professor of electroacoustic music composition at the Conservatory of Music G.B. Martini, Bologna. His compositional output is mainly electroacoustic. His works have been performed worldwide and received national and international commissions and awards. His research work concerns with the analysis of e l e c t r o a c o u s t i c m u s i c , s o n i c communication and audiovision. On these subjects he had published articles in national and international academic journals. He has also realized sound installations some of them are permanently located in the historical building of Palazzo Medici Riccardi in Florence. "10 He published a book on sound communication, Il Peso del Suono (2005).
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