MA/IN 2017 - MAtera INtermedia festival

THE ARTISTIC COLLECTIVE LOXOSCONCEPT, WITH THE SUPPORT OF THE “E.R. DUNI” CONSERVATORY IN MATERA, THE MATERELETTRICA COLLECTIVE, KEYHOLE CULTURAL ASSOCIATION AND BLUE CAT BLUES ASSOCIATION PROMOTES

THE SECOND EDITION OF MATERA INTERMEDIA FESTIVAL [MA/IN]

The MA/IN festival
is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an
annual meeting point between artists and composers, within a unique and lovely background of the city of Matera.

The second edition is divided into 2 different calls

MORE THAN ONE WORK MAY BE SUBMITTED IN BOTH CALLS OR IN DIFFERENT CATEGORIES.
Works submitted in the previous edition and not selected are eligible.

MA/IN ~ SPAZIOMUSICA COMMISSION

Deadline Expired

With the support of Spaziomusica organization of Cagliari (Sardinia, Italy) the MA/IN promotes the creation of a new work for Voice and Electronics/Multimedia.
Works should be for voice (soprano) and electronics (live or fixed) or multimedia (audio-video/ lights). The performer is ELEONORA CLAPS.
All pieces must be not previously performed.

The selected projects are:

Fabio Monni (ITA) – “Del buio e altri luoghi”

Daniel Fawcett (USA) – “Radiant Cry”

Gerardo De Pasquale (ITA) – “Del dolore e altre passioni lamento I”

Selected works will be performed twice:
world premiere at the 36th Spaziomusica Festival (Cagliari)
the second performance during the MA/IN 2017 (Matera)

MA/IN ~ 2017 call for artists

Deadline Expired

MA/IN 2017 calls for submissions in the following categories:

A - acousmatic ~

fixed media music - works of 15 minutes or less are encouraged

B - Mixed Media ~

for instruments and electronics (fixed or live)

C - AudioVisual ~

works with pre-prepared video and music

D - LivePerformance/SoundArt ~

works that include electronics/multimedia and other elements

SELECTED WORKS WILL BE ANNOUNCED IN SEPTEMBER

international selection panel

Yun Du

Jury2017

Du Yun, born and raised in Shanghai, China, currently based in New York, is a composer, multi-instrumentalists, performance artist, curator, working at the intersection of orchestral, opera, chamber music, theatre, cabaret, pop music, oral tradition, visual arts, electronics and noise. Hailed by the New York Times as a leading figure in China’s new generation of composers and often cited as a key activist in New York’s “new movement in new music,” she was selected by the National Public Radio (US) as 100 composers under 40. Known as chameleonic in her protean artistic outputs, her music is championed by some of today’s finest performing artists, ensembles, orchestras and organizations. In addition, Du Yun has also made works in the art world, including the 4th Guangzhou Art Triennial, Sharjah Biennial (UAE), Auckland Triennial, and Istanbul Biennial. Du Yun is on the composition faculty at SUNY-Purchase. She was a founding member of the International Contemporary Ensemble (ICE), and currently she serves as the Artistic Director of MATA, a pioneering organization dedicated to commissioning and championing young composers from around the world

Fabrizio Casti

Jury2017

Fabrizio Casti is an italian experimental music composer that operates also in acustic and electroacoustic improvisation. He teaches Elements of Music Composition and analysis at the State Music Conservatory of Cagliari. He took his degree in Experimental Composition with Franco Oppo in Cagliari and in Electronic Music with Alvise Vidolin in Venice and at CSC, University of Padova. His works have been performed in different places all over the world, among others: Teatro alla Scala (Milano), Musica XXI Accademia di Francia (Roma), L'Home Armé (Firenze) Teatro Lirico di Cagliari Fondazione (Cagliari), Festival Musica Verticale (Roma), I Teatri (Reggio Emilia), Computer Art Festival (Padova), Musiche in Mostra (Torino), Festival di Nuova Consonanza (Roma) e internazionali quali Ici L’onde (Dijon), Festival Internacional Cervantino (Guanajuato), Konstacademy, Samtida Musik Festival (Stockholm), University of Cincinnati (USA), St Cut's: Edinburgh Fringe Festival (Edinburgo), 46° International Festival of Contemporany Music (Warsavia) Festival Dal Niente, City University of London" (Londra), Art + Mècènat L'Italie Source Vive (Ginevra), Festival internacional de Musica Contemporanea (Argentina), Secondo Incontro Tra Due Culture (Tokio), The Days of New Music (Chisinau), Settimana Internazionale di Musica Nuova (Bucarest), Internazionale Ferienkurse fur neue műsik (Darmstadt), Festival de la Habana, Festival de Luxembourg, Musica del Siglo XX (Bilbao), Encuentros (Buenos Aires), Perspectivas (Madrid), Sibelius Academy (Helsinky), XXIV Foro Internacional De Musica Nueva (Città del Messico), Muziekcentrum De Ijsbreker (Amsterdam), Synthèse (Bourges), Sonorities Festival of Contemporary (Belfast); Digital Stilnovo BizArt Art Center (Shanghai). He is Artistic Director of Spaziomusica and is on the Board of SpaziomusicaRicerca, Cagliari (Italy). Both associations aim at the music research, oriented towards the music composition, and the promotion of contemporary and experimental music also in relation to contemporary performing arts. His works are published by RaiTrade, Ricordi and Ut Orpheus and recorded by ECM, die Schachtel, Stradivarius, LIMEN, Ricordi-Nuova Fonit Cetra, Warsaw Automn e Spaziomusica.

Robert Normandeau

Jury2017

His work as a composer is mainly devoted to acousmatic music, although he composed some mixed works. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. More recently he composed a cycle of works of immersive multiphonic music for dome of loudspeakers. Along with concert music he has composed, for a period of twenty years, incidental music especially for the theatre. He also worked as artistic director for over twenty years, especially for the concert series Clair de terre (Association pour la création et la recherche électroacoustiques du Québec (ACREQ)) from 1989 to ’93 at the Planétarium de Montréal, and Rien à voir and Akousma (Réseaux) from 1997 to 2006. He is Professor in electroacoustic music composition at Université de Montréal since 1999. after completing the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He leads the Groupe de recherche immersion spatiale (Spatial Immersion Research Group, GRIS), which produces sound spatialisation software. He received three Prix Opus from the Conseil québécois de la musique (CQM): two in 1999 — “Composer of the Year” and “Record of the Year — Contemporary Music” for Figures (IMED 0944) — and one in 2013 — “Record of the Year — Contemporary Music” for Palimpseste (IMED 12116). The Académie québécoise du théâtre (AQT) has given him two Masque Awards (“Best Music for Theatre”): one in 2002 for the play Malina and the second in 2005 for the play La cloche de verre, both directed by stage director Brigitte Haentjens. Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Linz (Austria, 1993, Golden Nica in 1996), Bourges (France, 1986, ’88, ’93), Fribourg (Switzerland, 2002), Luigi Russolo, Varese (Italy, 1989, ’90), Métamorphoses, Brussels (Belgium, 2002, 04), Musica Nova, Prague (Czech Republic, 1994, ’95, ’98, 2012, ’13), Noroit-Léonce Petitot, Arras (France, 1991, ’93), Phonurgia Nova, Arles (France, 1987, ’88), and Stockholm (Sweden, 1992) and Giga-Hertz (Karlsruhe, 2010). He received commissions from The Banff Centre for the Arts, BBC, CKUT-FM, Codes d’accès / Musiques & Recherches, Jacques Drouin, Les événements du neuf, Groupe de recherches musicales (GRM), Groupe de musique expérimentale de Marseille (GMEM), Terri Hron, Claire Marchand, Musée d’art contemporain de Montréal, Open Space Gallery, Orchestre symphonique de Montréal (OSM) / Société de transport de Montréal (STM), Arturo Parra, Société Radio-Canada, Réseaux, Sonorities Festival, Vancouver New Music Society, and Zentrum für Kunst und Medientechnologie (ZKM). He was composer in residence in Banff (Canada, 1989, ’92, ’93, 2012), Bangor (Wales, UK, 2008), Belfast (Northern Ireland, RU, 1997), Bourges (France, 1988, ’99, 2005), Huddersfield (England, RU, 2015), Karlsruhe (Germany, 2004, ’05, ’10, ’11), Mons (Belgium, 1996), Morelia (Mexico, 2013), Ohain (Belgium, 1987, 2007), Oslo (Norway, 2015), Paris (France, 1990, 94), and Santiago (Chile, 2013).

Valerio Murat

Jury2017

Valerio Murat (1976, Italy) is an intermedia artist. After his studies in Composition with Antonio Poce and Electronic Music with Alessandro Cipriani he carried on his exploration between arts working with music and video. His works have been awarded in different international competitions: • I° prize Giga-Hertz-Awards, ZKM, Karlsruhe, Germany. • I° prize Concours International de Musique et d’Art Sonore Electoacoustiques, Bourges, France. • I° prize “eading Panel IRCAM, Ensemble Intercontemporain, Paris, France • I° prize Gaudeamus Composition Prize, Amsterdam, Netherlands. • International Computer Music Conference (2005/2006/2012) • Honorable mention Concours International de Musique et d’Art Sonore Electoacoustiques”, Bourges France (2005/2008). • EXiS International Competition Experimental Film and Video, Seoul, Korea (2005/2007) • Prix de la Création Vidéo, Videoformes, Clermont Ferrand, France (2012/2013) • Roma Poetry Film Festival - Special awards 2013 His works have been performed and screened in different places all over the world, among others: Paris, France, IRCAM Agorà Festival; Amsterdam, Netherlands, Concertgebouw; Paris, France, Radio France Festival Presence; Amsterdam, Netherlands, Gaudeamus Muziek Week; Venezia, Italy, Biennale di Venezia; Karlsruhe, Germany, ZKM Center for Art and Mediatechnology; New York, USA, Electronic Music Foundation; Barcelona, Spain, L’Auditori; Amsterdam, Netherlands, Stedelijk Museum; Amsterdam, Netherlands, Theater Felix Meretis; Apeldoorn, Netherlands, Gigant Theater; Berlin Germany, International Sound Art Festival; Morelia, Mexico, CMMAS Centro Mexicano para la Musica y las Artes Sonoras; Boston, USA, Institute of Contemporary Art; Chicago, USA, Columbia College; New Orleans, USA, Dixon Hall; New York, USA, Living Theatre; New York, USA, Stony Brook University; Roma, Italy. Auditorium Parco della Musica; Clermont-Ferrand, France. Hamburg, Germany, International Sommerfestival Kampnagel; Videoformes; London, England, Barbican Centre; Los Angeles, USA. The Vine Theatre; Lyon, France, Conservatoire National Supérieur Musique et Danse de Lyon; Eindhoven, Routebeschrijving Witte Dame; Cologne, Germany, 10th Cologne International Videoart Festival; Marseilles, France, Fe.V.E. Festival de Vidéo Expérimentale; Marseilles, France, Instants Video; Marseilles, France, Les Instants Video Numériques et Poétiques; Berlin, Germany, Zebra Poetry Award; Minneapolis, USA, MacPhail Center for Music; Osnabrueck, Germany, European Media Art Festival; Rotterdam, Netherlands, Theater Lantaren-Venster; San Francisco, USA, The Victoria Theatre; Stuttgart, Germany, Filmwinter; Tokyo, Japan, Seco Lounge, The Ball Room; Toulouse, France, Traverse Video; Umeå, Sweden, Verkligheten "Borders"; Utrecht, Netherlands, Impakt Festival; Utrecht, Netherlands. Theaterkikker; Athens, Greek, Athens Video Art Festival; Beirut, Lebanon, New Moving Images; Washington, USA. Western Washington University; Wellington, New Zealand. Victoria University Campus; Ankara, Turkey. Metu Video Festival; Miami, USA, New Music Miami ISCM Festival; Seul, South Korea, EXiS, Experimental Film Festival. His music is broadcasted by the BBC3 England; Radio France, France; SWR2, Germany; VPRO Radio 4, Netherlands. Currently he is professor of Multimedia at the Conservatorio di Musica Licinio Refice, in Frosinone, Italy.

Cat Hope

Jury2017

Cat Hope is a composer, researcher, performer, songwriter and noise artist. She is a flautist and experimental bassist who plays as a soloist and as part of other groups. She is the director of and performer in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014 Cat won the APRA|AMC Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and a Civitella Ranieri and Churchill Fellow. She is co-author of Digital Art – An Introduction to New Media (Bloomsbury) and is a Professor of Music at Monash University, where she is currently head of the Sir Zelman Cowen School of Music.

Marta Gentilucci

Jury2017

Marta Gentilucci studied Vocal Arts as soprano at Conservatory “F. Morlacchi” in Perugia; there she also obtained her Master of Arts in English and German Literature cum laude. She began studying composition at the Conservatory “L. Cherubini” in Florence. In 2004 she moved to the University of Music in Stuttgart, where she attended the composition course with Marco Stroppa, and in 2007 she obtained her diploma. In 2008 she attended the post-graduate course in composition with Chaya Czernowin in Vienna and the Master in Composition-Computer-Music with Marco Stroppa and Oliver Schneller in Stuttgart (2008-2010). In 2009/10, she was selected for the Cursus1 at Ircam; in 2011/12, she participated at Cursus2 with a project for Voices, ensemble and live electronics. She is currently finishing the Ph.D Program in composition at Harvard University under the guidance of Chaya Czernowin and Hans Tutschku. She obtained several scholarships and prizes, including: the scholarship of the Festival Junge Künstler Bayreuth 2004, Scholarship-prize of the “44. Internationalen Ferienkurs Darmstadt” 2006, scholarship of the Centre Acanthes 2007, Markel Stiftung 2006-09, scholarship of the Kuststiftung Baden-Württemberg 2008, residency at the Electronic Studio Akademie der Kunst Berlin (ADK) 2010, scholarship of the Experimentalstudio des SWR Freiburg for Matrix09/10/11/12. In 2011 she obtained the Stroebelstiftung Arbeitstipendium. Her music has been performed in Italy, France, Germany, Korea and Japan, USA and UK by ensembles as Wind Quintet from the Orchestra Nazionale RAI, Ensemble Surplus, Interzone Percettible, Ensemble Ascolta, cros.art ensemble, Neue Vocalsolisten Stuttgart, Ensemble Intercontemporaine, Jack Quartet, Chiara Quartet, Ensemble L’Arsenale, Ensemble Hand Werk, Nikel Ensemble, Elision Ensemble, Promenade Sauvage, Ensemble Dal Niente, Ensemble Contrechamps, Orchestra and Choir of the Staatstheater Darmstadt (DE). Her electronic music has been selected for the International Computer Music Conference in Huddersfield, UK (ICMC 2011), Seoul International Computer Music Festival (SICMF 2012), New York City Electroacoustic Music Festival (nycemf 2013 and nycemf 2015, New York City); International Computer Music Conference in Perth, Australia (ICMC 2013); Athens, Greece (ICMC 2014); Denton, Texas (ICMC 2015). In 2017, she will be composer in residence at IRCAM with a research project on voice and voice extended techniques.

Christina Kubisch

Jury2017

Christina Kubisch was born in Bremen in 1948. She studied painting, music and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a perfomer and collaborates with various musicians and dancers. Numerous grants and awards, such as the Award of the German Industrial Association (BDI) 1998, composition grant of the city of Berlin 2000, Carl Djerassi Honorary Fellowship, USA 2000, artist-in-residence IASPIS, Stockholm 2002, Honorary prize of the German Sound Art Prize 2008, City sound artist Bonn, 2013. Since 1974 solo exhibitions in Europe, USA, Australia, Japan and South America. Numerous participations in international festivals and group exhibitions such as: Pro Musica Nova, Bremen 1976 and 1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice 1980 and 1982, documenta 8, Kassel 1987, Ars Electronica, Linz 1987 and 2010, Steirischer Herbst, Graz 1987, Biennale of Sydney 1990, Biennale of Nagoya 1991, Donaueschinger Musiktage 1993 and 1997, Sonambiente, Berlin 1996 and 2006, Klangkunstforum Parkkolonnaden, Berlin 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr Hörgalerie, Berlin 2002, Activating the Medium, San Francisco 2003, sounding spaces, Tokyo 2003, Resonances - The Electromagnetic Bodies Project, ZKM, Karlsruhe 2005, Her Noise, London 2005, B!AS International Sound Art Exhibition, Taipei 2005, Stockholm New Music 2006, Invisible Geographies: Sound Art from Germany, New York 2006, Sharjah Biennial 2007, Huddersfield Contemporary Music Festival 2007, Soni(c)loud, Mexico City 2008, RUHR2010, European Capital of Culture project, Ruhr area 2010, Salon Urbain de Douala, Cameroon 2010, gateways, Art and Networked Culture, Tallinn 2011, White Walls Have Ears, Hong Kong 2012, Sound Art. Klang als Medium der Kunst, ZKM, Karlsruhe 2012, bonnhoeren, Beethovenstiftung Bonn, 2013, festival NOW, Essen 2014, blurred edges festival, Hamburg, 2015. Her music has been released with various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright, AA Records. Christina Kubisch has been a visiting professor in Maastricht, Paris and Berlin. She has been a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, from 1994 to 2013. She is a member of the Akademie der Künste Berlin since 1997.

Pierre Jodlowski

Jury2017

Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an "active process" on the physicall level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. In parallel to his compositions, he also performs on various scenes (experimental, jazz, electronic), solo or with other artists. Since 1998 he is co-artistic director of éOle (research and production studios based in Odyssud - Cultural center in Blagnac) and Novelum festival in Toulouse (from 1998 to 2014). He has been collaborating with various ensembles such as : Intercontemporain (Paris), Ictus (Belgium), KNM (Berlin), the Ensemble Orchestral Contemporain (France), the new Ensemble Moderne (Montreal), Ars Nova (Sweden), Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments (France), the Berg Orchestra (Prague), Soundinitiative (Europe) and various soloist from the international contemporary music scene. He also conducts collaborations with musicians such as preferred Jean Geoffroy - percussion, Cedric Jullion - flute, Wilhelm Latchoumia - piano, for works and research on the new instruments capacities. He performed in a trio with Roland Auzet (percussion) and Michel Portal (sax & clarinet), a duo with drummer Alex Babel and different projects with musicians from improvised music scene in Europe. His work led him to develop collaborations with visual artists, in particular, David Coste for specific projects with video. He also works as a stage designer on several projects at the intersection of theater, installation, concert or oratorio. He has received commissions from IRCAM, Ensemble Intercontemporain, the French Ministry of Culture, Akademie der Künste (Berlin), CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM, GRAME , Siemens Foundation, the Opera of Toulouse, the European project INTEGRA, the studio EMS - Stockholm, the Royaumont Foundation, Cabaret contemporain, Venice Biennale music festival, Polish Ministry of Culture… Winner of several international competitions, he won the Prix Claude Arrieu SACEM in 2002, the Prix Hervé Dugardin SACEM in 2012, and was in residence at the Academy of the Arts of Berlin in 2003 and 2004. In 2013 he won a Prize awarded by "Academie Charles Cros" for one of his CD. In 2015 he is the winner of The Great Lyceum Prize in France for his piece "Time & Money". His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States. His works are partly published by Editions Jobert and are the subject of several CD and video recordings on the labels éOle Records, Radio France and Kaïros. He is living in France and Poland.

Oscar Bianchi

Jury2017

Born n Milan, holding dual Italian-Swiss citizenships, Oscar Bianchi completed degrees in composition, choir conducting and electronic music at the Giuseppe Verdi conservatory of Milan. He pursued studies in composition taking part in master programs such as at IRCAM - Centre Pompidou and with a doctoral degree at Columbia University in New York. Vitality, pulsing rhythms, and virtuosity are the hallmarks of the music created by Bianchi, who reveals a sensible interest in new phrasings and new ornamentations, something to be expected from someone whose ears are finely attuned to the music from all corners of the globe. A vocal quality, even in his instrumental work, can strike us as a prominent feature of his music. Exuberant and intelligent, this vocal dimension plays with a refined art of accentuations in all its intermediate degrees. We know him now increasingly interested in cantata and opera: at its core, Bianchi's music continues to be guided by the challenge of dramaturgical and formal issues. The unexpected contrasts between voluble virtuosity and contemplative stasis are the driving force of his flair for dramatic gesture. His music is joyfully violent in breath and in song but may suddenly come to rest in prayer, via a specific harmony, as though struck by the noonday light. Commissioned by the Aix-en-Provence Festival and Théâtre & Musique, his first opera, Thanks to My Eyes, libretto and direction by Joël Pommerat, received critical acclaim by audiences and critics alike (A masterly portrait of Melancholy, Le Monde, July 7, 2011). His music has been performed by outstanding ensembles and orchestras such as Gewandhaus Leipzig, Orchestre Philharmonique de Radio France, Deutsche Symphonie Orchester, Ensemble Modern, Klangforum Wien, JACK quartet, Les Percussions de Strasbourg, Ictus, Quatuor Diotima, Ensemble Remix, Nieuw Ensemble, Ensemble l’Itineraire, Ensemble Contrechamps, International Contemporary Ensemble, Alarm Will Sound, David Grimal, Kammerensemble für neue Musik Berlin, Phoenix Ensemble, Collegium Novum Zürich, Drumming Grupo de Percussão from Porto, Ensemble Laboratorium, Osterreichiches Ensemble für neue Musik, Sound’arte. Upcoming projects include new works for the Symphonieorchester des Bayerischen Rundfunks, Orchestra della Svizzera Italiana, Ensemble Modern, Jack, Remix ensemble, London Symphonietta, Asko-Schoenberg and Collegium Novum Zürich. Oscar Bianchi was a guest of the DAAD Kunstlerprogramm Berlin, Pro-Helvetia in Warsaw and Johannesburg and the Atlantic Center for the Arts in Florida. He has been awarded numerous prizes, such as the Gaudeamus first Prize, the Grand Prix de la SACEM, the Dussurget Prize, the Asm-Stv Prize, the Aargauer Kuratorium fellowship and the Ictus fellowship. «Partendo», for countertenor and ensemble, has been awarded with the 2016 IMC International Rostrum of composer's prize. His CD Portrait won in 2013 the German Record Critics' Award. The works of Oscar Bianchi have been performed throughout Europe, Asia and the Americas in prestigious venues such as Philarmonie Berlin, Alice Tully Hall (Lincoln Center, New York); Luzern Festival; Festival d'Aix-en-Provence, La Monnaie, Moscow Philharmonic, Muziekgebouw, Amsterdam; Herkules Saal Munich, Venice Biennale; Musica Festival Strasbourg; Autumn Festival Warsaw; Casa da Musica Porto, Cairo Opera, Ultrashall Berlin; Eclat Stuttgart; Gasteig Munich; Ars Musica, Bozar, Brussels; Archipel, Geneva; Tages für Neue Musik, Zürich; IRCAM Centre-Pompidou, Paris; Abbaye du Royaumont; DRS; RSR; RSI; RAI; France Culture; RFI; TFI; France Inter; RTBF; ORT; SWR; Deutschland Kultur, RBB, Tchaikovsky Conservatory, Moscow; the University of Witwatersrand, Johannesburg; Kulturhuset, Stockholm; Sonora Festival, Cologne; OggiMusica, Lugano; Musica è Realtà, Milan; Nuove sincronie, Milan; Milan Conservatory; Teatro Comunale di Bologna, Nuova Consonanza, Rome; CEMAT, Rome. [Jean-Luc Plouvier]

Panayiotis Kokoras

Jury2017

Panayiotis Kokoras (Greece, 1974) is an internationally award-winning composer and computer music innovator. He is an Associate Professor at the University of North Texas. Born in Greece, he studied classical guitar and composition in Athens, Greece and York, England; he taught for many years at Aristotle University in Thessaloniki (among others). Kokoras's sound compositions use timbre as the main element of form. His concept of "holophony" describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing, his music calls upon a "virtuosity of sound," emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies, Extended techniques, Tactile sound, Augmented reality, Robotics, Spatial Sound, Consciousness and Music. His compositional output consists of 62 works ranging from solo, ensemble and orchestral works to mixed media, improvisation and tape. His works have been commissioned by institutes and festivals such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM (Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 600 concerts around the world. His compositions have been selected by juries in more than 230 international calls for scores and have received 64 distinctions and prizes in international competitions, among others KLANG! Composition Competition 2016, Franco Evangelisti Prix 2012 (Italy), Destellos Prize 2014 and 2011 (Argentina), Prix Ars Electronica 2011 (Austria), Métamorphoses 2014, 2010 & 2000 (Belgium), Giga-Hertz Music Award 2009 (Germany), Bourges 2009, 2008 and 2004 (France), Gianni Bergamo 2007 (Switzerland), Musica Viva 2005 and 2002 (Portugal), Gaudeamus 2004 and 2003 (Holland), Jurgenson Competition 2003 (Russia), Takemitsu Composition Award 2002 (Japan). He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and from 2004 to 2012 he was board member and president. He is currently secretary of the Interactional Confederation of Electroacoustic Music (CIME/ICEM). He was Conference Chair for the ICMC 2015 and currently serves as the CEMI Director – Centre for Experimental Music and Intermediary at the University of North Texas.

Silvia Lanzalone

Jury2017

Silvia Lanzalone (Salerno 1970), composer. Silvia Lanzalone is the Head of the Department of New Technologies and New Languages and professor of Electronic Composition at the Conservatoire ‘G.Martucci’ of Salerno, since 2009. She also collaborate, since 1997, with CRM – Centro Ricerche Musicali in Rome, as composer, researcher and musical assistant. She studied Flute with Enrico Renna, Annamaria Morini and Peter-Lukas Graf; Composition with Mauro Cardi and Guido Baggiani, Music Technology with Michelangelo Lupone and Giorgio Nottoli and she has achieved the Diploma of Flute at Conservatoire of Salerno, the Diploma of Composition and the Diploma of Electronic Music at Conservatoire of L'Aquila and at Conservatoire of Rome. Silvia Lanzalone’s work is oriented towards experimentation and research into new expressive and linguistic solutions, primarily using the computer technology in order to process sound in real time. Recently her interest in mainly focused on the creation of pieces characterized by improvisation and a gestural component. In these works the use of the computer is generally combined with the creation of interactive instruments and sound installations. In Silvia Lanzalone’s works, technology, rather than imposing itself on the natural sound in order to modify it trough artificial algorithms, becomes part of the whole physical-acoustic structure of a new ‘instrument’, conceived and designed in parallel with the music in order to give life, each time, to a specific and independent artwork, both plastic and sonorous. The interest towards the visual element is based on the aesthetical idea that the work of art is an intermedial experience in which several perceptual items do converge into it. Silvia Lanzalone’s most recent works have been produced with the collaboration of instrumentalists, dancers, film directors, actors and visual art performers. In 2000 Silvia Lanzalone won the “Quarant’anni nel 2000” International Prize of Composition organized by Federazione CEMAT - Centri Musicali Attrezzati, for the creation of a musical theatre work for children, called Junofirst (KHJay e Neuroboy contro i pirati del Web), that has been produced by Società Aquilana dei Concerti “B. Barattelli” and by CRM - Centro Ricerche Musicali in Rome. In 2006 she won the “Franco Evangelisti International Prize of Composition” with the work Il suono Incausato, improvise-action for suspended clarinet, clarinettist and electronics (2005). In 2009 she had a grant from the “C. M. Lerici Foundation” to make a research project on female voice in contemporary music at the KTH - Royal Institute of Technology of Stockholm, Department of Speech, Music and Hearing. In 2013 her work for digital medium Alba d’oro was selected in the call of Federazione CEMAT “6° CD Call Punti di Ascolto”, for the production of a CD of electronic works. In 2015 she created the music for Teresa d'Avila, Esclamazioni dell'anima a Dio, a two-hours drama realized with the complete text of Santa Teresa D’Avila, translated and performed by Silvia Schiavoni, whose voice was elaborated and transfigured by computer, together with the sounds of Gianni Trovalusci’s flute and other electronic sounds; this work was commissioned and broadcast by Radio Vaticana, introduced by Cardinal Gianfranco Ravasi and Monsignor Melchor Sánchez de Toca, and produced Marco Di Battista. Silvia Lanzalone did write some articles which were published on specific books and magazines (Organized Sound-International Journal of Music and Technology, Syrinx, Music@, Equipeco, Le arti del suono, UTET Università) did lectures and masterclasses on Electronic Music and New Technologies, as well as talks during several international conventions (CIM-Colloquium on Musical Informatics, EAW-Electroacoustic Winds, NIME-New Interfaces for Musical Expression, UCM-Understanding and Creating Music). Her compositions have been performed both in national and international festivals: Accademia Filarmonica Romana, Rome; Arte Scienza, Rome; Corpi del Suono, L'Aquila; Distanze, Catania, EmuFest, Rome; Festival di Musica Verticale, Rome; Festival di Nuova Consonanza, Rome; Festival Scelsi, Rome; Futura, Crest, France; Jornadas Internacionales de Música Electroacústica, Cordoba, Argentine; Les Journées Grame, Lione, France; Musica Scienza, Rome; Music out of time. A discovery Series. Electroacustic Music: The Continuing Tradition, Maryland, USA; NYCEMF - New York City Electroacoustic Music Festival, USA; Novecentomusica, Firenze; Synthèse2005, Bourges, France; Spazi aperti 5, Rome; Stagione Concertistica della Società Aquilana dei Concerti B. Barattelli, L’Aquila, Warsaw Autumn, Warsaw, Poland. Her works are published by Ars Publica, Taukay and Suvini Zerboni. http://www.silvialanzalone.it/

Agostino Di Scipio

Jury2017

Agostino Di Scipio (Naples, Italy, 1962) composer, sound artist, scholar. Graduated in Composition and Electronic Music from the Conservatory of L’Aquila, studied Computer Music at CSC, University of Padova. Di Scipio explores original methods in the gener¬ation and transmission of sound, often featuring phenomena of emergence and chaotic dynamics, in either live electronics performance contexts, chamber music contexts or sound installation works. Many of his recent works implement “man-machine-environonment” net¬works of purely sonic interactions (e.g. the Audible Ecosystemics series, and the more recent Modes of Interference series). A recent special issue of Contemporary Music Review draws on Di Scipio’s artistic achievements in this direction. His music is available on various labels (RZ Edition, Chrysopeé Electronique, Wergo, Neuma, etc.). With pianist Ciro Longobardi, Di Scipio published a full-length realization of John Cage’s Electronic Music for Piano (Venice Biennale 2012, available on Stradivarius). With saxophonist and political agitator Mario Gabola, he runs the Upset duo exploring recycled analog circuitry (Upset, Viande). His output also includes two chamber theatre works with poetry reading and electroacoustics, Tiresia and Sound & Fury. Artist-in-residence of DAAD Berlin (2004-2005) and other international residency programs, Di Scipio has served as full-time professor in Electroacoustic Composition at the Conservatory of Naples (2001-2013) and today holds the same position in L’Aquila, a small medieval town in the Appennine mountains, where he lives. Edgar-Varèse-Professor at Technische Universität, Berlin (2007-2008), guest professor in various international institutions, active member of the research team Ecologies du son at University Paris 8. His writings focus on cognitive and political implications of sound and music technologies (e.g. the volume Pensare le tecnologie del suono e della musica, Naples 2013), issues that are also central in many of compositions and sound works (see the recent book + CD Polveri sonore, La Camera Verde, Roma, 2014). Guest editor of the Journal of New Music Research for a special issue on Iannis Xenakis, and editor of various volumes including Xenakis’ Universi del suono (Milan 2003), Gottfried Michael Koenig's Genesi e forma (Rome, 1995), Michael Eldred’s Heidegger, Holderlin & John Cage (Rome 2000). http://agostinodiscipio.xoom.it/adiscipi/

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MA/IN 2017,December 2017,MAtera INtermedia festival 2017

The second edition is divided into 2 different calls

MA/IN ~ SPAZIOMUSICA COMMISSION

MA/IN ~ 2017 call for artists

A - acousmatic ~

B - Mixed Media ~

C - AudioVisual ~

D - LivePerformance/SoundArt ~

JURY

international selection panel

Yun Du

Fabrizio Casti

Robert Normandeau

Valerio Murat

Cat Hope

Marta Gentilucci

Christina Kubisch

Pierre Jodlowski

Oscar Bianchi

Panayiotis Kokoras

Silvia Lanzalone

Agostino Di Scipio

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