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Proceedings XIY CIM Colloquium on Musical Informatics

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Proceedings XIY CIM Colloquium on Musical Informatics XIV CIM Colloquium on Musical Informatics Firenze 8/9/10 May 2003 Studio C/RAI Sede Regionale per la Toscana Limonaia di Villa Strozzi Proceedings Edited by Nicola Bernardini Francesco Giomi Nicola Giosmin Tempo Reale AIM1 - Associazione Italiana di Musica Informatics While Contemporary Music production still seems to have difficulties to ac- cept new technologies and production modes, Computer Music seems to be now a fully consolidated domain whose effects and benefits can be assessed in a large nulnber of fields, ranging from contemporary or industrial music pro- duction to automotive applications, mobile telecommunications, or ecological acoustics. The Colloquio di Informatics IVIusicale (CII\II), held in Firenze from May 8 to May 10 2003, has now reached its fourteen edition. The CIM has become an event of international relevance since several years now and this edition is keeping up with the previous ones, as these proceedings demonstrate. While consolidation needs work and dedication, the passage of time brings with itself high prices. Since the last edition of the CIM, two much-beloved and respected pioneers of Electro-acoustic and Computer Music, Teresa Ram- pazzi and Pietro Grossi, have left us - mixing our sorrow to the mandatory obligation of perpetuating the memory of their work (which coincides with the origins of Computer Music in Italy). This Colloquium and these proceed- ings are dedicated to the memory of Teresa Rampazzi and Pietro Grossi. Therefore, a focus on the historical aspects which are starting to emerge in the Italian and international scene of Computer Music (and the analyses of their continuities and discontinuities) seemed to be the ]nost obvious choice as a central theme. Of course, loolting back at history does not nlalte sense if it is not directly connected with our future, if it does not provide the direction for future evolution. This is why the central theme of the XIV CIM is in fact: Past and Future. We are convinced that Teresa Rampazzi and Pietro Grossi would have approved the choice. The organization of an event like CIM tales quite a lot of energy and re- sources: I wish to thank the organizing Committee, the Scientific Conlmittee and the Music Conl~nitteefor their invaluable contribution to the organiza- tion and success of this Colloquium. Kicola Bernardini Firenze, May 2003 XIV CIM 2003 Computer Music: Past and Future Firenze 8-9-10 May 2003 Proceedings Special session: History of electro-acorrstic rtrrrsic Mastropietro A. A Contribution to a (Pre)History of Computer Music Research in Rome: from Evangelisti and Guaccero to Centro Ricerche Musicali P. 1 Mayr A. Pietro Grossi's musical utopia electro-acoustic music in Florence in the sixties and the seventies P. 5 Novati M. The Studio di Fonologia at RAI in Milan and its current archive p. S Zaffiri E. Electronic music in the slructuralist current at Turin in the sixties p. 10 Zattra L. Teresa Ranlpazzi: pioneer of italian electronic music p. 11 Restoring, nrcltives ntrd ~r~rrsicnlprorlrrctiot~s Bernardini N., Vidolin A. Medea by Adriano Guarnieri: a report on extreme live-electronics p. 17 De Mezzo G., Orcalli A. Contemporary music archives: towards a virtual music museum p. 22 Geslin J., Teruggi D. Sound transfom~ations:past and future p. 28 Giomi F., Meacci D., Schwoon K. Sound and architecture: an electronic music installation at the new auditorium in Rome p. 33 Barontini P., Trevisi S. A computational approach to the analysis of Incontri di fasce sonore by Franco Evangelisti p. 37 Cewelli M. C. Plus Minus: an algorithnlic analysis and a musical realization p. 42 Meneghini M. Stria. by J. Chowning: analysis of the con~positional process p. 45 Di Blasio S. Educational, Musical and Multimedia1 Software Archives p. 51 Abbattista F., De Felice F., Scagliola F. Gen-Orchestra: A musical blind watch maker p. 154 Brousse N., Desainte-Catherine M. Towards a Specification of Musical Interactive Pieces p. 159 Malcangi M., Nivuori A. Beat and Rhytlun tracking of audio musical signal for sincronization of a virtual puppet p. 163 Nienhuys H., Nieunrmhuizen J. LilyPond a free exteilsible nus sic engraving system p. 167 Mnt/rcr~raticn/Models Mariorenzi L., Seno L. A mathematical model for tl~eholophone. a high directivity acoustical radiator p. 173 Miscellnrreorrs Poster Scctiorr Cavaliere S., Sica G. VM-Zone: a tool for interactive didactical experiences in Music p. 177 Concert Notes p. 181 18.10P1~oceedir~g.sof lrhe .\'Il'Culloq~ri~rr~ron hltrvical lr!fim,zntics (XII' Clhl2003). F'irerlze, Italy. Mov 8-9-10. 7003 A Contribution to a (Pre)History of Comnputer Music Research in Rome: froin Evangelisti and Guaccero to Centro Ricerche Musicali Alessandro Mastropietro PhD in "History and Analysis of Musical Cultures" - "La Sapienza" University, Rome ale mastro~ietro~l~otmail.com 0. Introduction. The vicissitudes of computer music diffusion. "Musica Verticale" computer music research and production date has been active for the last 25 years in the back, in the Rome area, to the second half of the electronic music field, together with other Seventies. In 1974 the Frosinone Conservatory, Roman institutions (both "generic" and whose director was at that tune Daniele Paris dedicated to contemporary music). The creative (an outstanding figure in Roman neo-avant- path of such figures and institutions will be garde music, both as conductor and as a moving discussed in terms of digitalimusical tools, force), instituted one of the fnst chairs of worlts and philosophy starting from its electronic music in Italy. The professor at that historical and aesthetic background. This will time was (and still is) Giorgio Nottoli, formerly be done by pinpointing questions, themes and a pupil of Walter Branclu at Pesaro operative courses up to the more recent and Conservatory and a prominent personality with incisive developments in computer-music both musical and scientific competence research and production camed out by CRM (particularly in the field of electronic until today in the Rome area. engineering). Nottoli's activity as researcher, musical 1. Prehistory: ante-digital. In the musical hardware producer and composer, as well as theorizing and praxis of Franco Evangelisti teacher of several pupils with similar profile, (1924-1980) and Domenico Guaccero (1927- was pursued in a context which was neither 1984), it is possible to point out some relevant neutral nor unresponsive to this research. A points concerning the matters discussed above: receptive ambience was created, as the years 1) Consciousness of the complexitv of went by, by the Roman musical neo-avant- aesthetic experience and message, that arises garde, and especially by Guaccero and both from "internal" (the opus itself, the Evangelisti who were its most representative musical language) and from "external" relations figures, also from the cultural and aesthetic (social and cultural context, means and standpoint, and were able to consider and technologies of production.. .). The concept that formulate, in an interdisciplinary way, questions aesthetic experience is a combination of concerning the relations between musical and interrelated "orders" was the basis for the new scientific research as well as to the combined homonymous review (Ordini, Orders), whose results of the two disciplines. editorial committee consisted of Guaccero, The depth and richness of this cultural Evangelisti, Egisto Macchi, Daniele Paris and humus is testified by the variety and longevity Antonino Titone. Only the first number of of the structures which were created by those Orchi was published (in 1959) - the second, trained in this school. In the particular field of although ready, never saw the light of day computer-music research, besides that camed owing to the death of the publisher. Among the out in industries, the CRM (Centro Ricerche "orders" investigated was that of musical Musicali) is still active in Rome; this centre was technique and technology dealt with in the founded at the end of the 80's thanks to the editorial by Adorno (Mzrsica e tec17ica oggi) and initiative of inembers of SIM (Societi di in the articles of Evangelisti (Verso ii17a lnformatica Musicale), in its turn founded at the con1posizio17e elettro17ica, pp. 48-53) and Aldo beginning of the same decade. Parallel to these Masullo (La "str-zrttzr~-a" nell 'evolzcione dei two and dedicated essentially (but not only) to linpmggi scient~fici,pp. 54-75). research, the activity of other Roman 2) The com~ositional confrontation with institutions has continued in the specific field of electronic technoloeies and in eeneral with in the Frosinone Conservatory; Del Evangelisti's Spaz cnscmhlc of voices is amplilicd and processed widr range of musical tcchnologies, both on electronically in analog, the sole mcdium th;t~ commission for industrics and private or public could then makc ocrceiv;tble the timbrical oanics as well as for comoositional rcscarch details of differ Lupone, performances based respectively on the 3. CRM (Centro Ricerche Musicali). In breathing and steps of dancers, the sound of 1988 Michelangelo Lupone and Laura which is electronically processed Bianchini (who had earlier joined SIM together (choreographies by Massimo Moricone); the with Nicola Bemardini) left the SIM and "radio-scenes" 117 trrz grattacielo (text by Enrico founded CRM (Centro Ricerche Musicali - Palandri, music by Lupone) and Irizn~obile e Centre for Music Research). According to doppio (text by Susanna Tamaro, music by Lupone, the reason for this decision lay in the Bianchini), conceived as "teatro dell'ascolto" tendency, not of the SIM itself but of the but also staged as musical multimedia theatre in marlcet, to demand always more computer Frankfurt am Mein in 1996; ballets N products which were limited to a conservative Loreizzaccio and La Rorzde by Matteo D'Amico musical language, totally unrelated to the (both for Teatro Comunale, Florence, 1994 and musical philosophy that could be developed 1995); electronic excerpts from Sehn-Sucht by through utilization of the new technologies.
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