MA/IN 2019 - MAtera INtermedia festival

Matera Intermedia 2019

LOXOSconcept, with the support of Matera 2019, promotes the 4th edition of MA/IN 2019 [MAtera INtermedia festival]

The MA/IN 2019 will take place in MATERA from 19th to 22nd of September 2019

The city of Matera is “European Capital of Culture 2019”, and LOXOSconcept is project leader for 2018/2019 Sound Art/cultural programming. The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level

CALL for WORKS

MA/IN ~ 2019 festival

EXTENDED DEADLINE: MAY 26th, 2019 (23:59 - Rome time)

CALL FOR WORKS

SUBMISSION GUIDELINES

MA/IN 2019 calls for submissions in the following categories:

A - acousmatic ~

fixed media music

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

SUBMISSION FORM

SUBMIT

EXTENDED DEADLINE : MAY 26th, 2019

This call OPEN

IMPORTANT NOTICE

Due to a problem on our server the submission form sometimes have been unreachable. We have received many e-mails underlining that issue so we decide to postpone the “extended” deadline to May 26th and provide an alternative submission form.
If you can’t see the official submission form, please send us an e-mail to info [at] materaintermedia [dot] it

Sorry about the inconvenience!

AVVISO IMPORTANTE

A causa di un problema sul server, il form d’iscrizione ufficiale al festival è risultato a volte irragiungibile. Abbiamo ricevuto alcune email che testimoniano la persistenza di questa problematica che sembra essere di difficile risoluzione. Per tale ragione l’organizzazione ha deciso di rimandare la data di scadenza del bando al 26 maggio e di creare un modulo d’iscrizione alternativo. Coloro che non siano riusciti a utilizzare il form ufficiale, possono mandare una email a info [at] materaintermedia [dot] it

Ci scusiamo per l’incoveniente!

The ENTRY FEE is €25.00 (twentyfive/00 Euros) per each submission.
It is possible to submit one or more works also in different categories.

There is NO REGISTRATION FEE or other fees after the selection process.

This CALL is ANONYMOUS.

PRIZES

The selection panel will assign :

4 AWARDS of DISTINCTION

n. 4 Max/MSP 8 licenses are available

4 HONORABLE MENTIONS

GRM tools Complete II splitted in : ``Classic`` ``Spectral Transform`` ``Spaces`` ``Evolution``

TRAVEL GRANT | FUND

a total amount of 2000 EUR for all categories ||| available for winners

1 GRM Tools Complete II Licence (granted by INA GRM)

4 Max/MSP 8 | full licenses (granted by Cycling ’74)

MA/IN will:

provide AudioVisual Recording for all live performances.
realize the MA/IN 2019 digital mixtape (for acousmatic art)
publish the MA/IN 2019 digital booklet
provide professional musicians and technical support.

international selection panel

Kathy Hinde

Jury2019

Kathy Hinde’s work grows from a partnership between nature and technology expressed through audio-visual installations and performances that combine sound, sculpture, image and light. Drawing on inspiration from behaviours and phenomena found in the natural world, she creates work that is generative; that evolves; that can be different each time it is experienced. Kathy aims to create work that gives rise to a poetic and reflective experience that enriches an appreciation of the everyday, inviting a heightened awareness of the world around us. Kathy frequently works in collaboration with other practitioners and scientists and often actively involves the audience in the creative process. She has created light and sound installations in public spaces, including urban streets, woodlands and forests. She has shown work extensively across Europe, China, Pakistan, USA, Canada, Colombia, Mexico, Brazil and New Zealand. She became a Cryptic associate artist in 2015. Kathy has received a number of awards including an Honorary Mention at Prix Ars Electronica 2015; runner up for the PIARS Sonic Arts Award in 2014; long listed for the Aesthetica Art Prize in 2014 and 2018; a British Composer Award in Sonic Art in 2017; an ORAM award in 2017; and a Scottish Award for New Music for Collaboration with Maja Ratkje in 2018. Kathy was a selected artist for European SHAPE Platform for innovative music and audiovisual art in 2018. photo by Simon Webb

Emanuele Casale

Jury2019

Emanuele Casale studied double bass under Sebastiano Nicotra, composition under Eliodoro Sollima and electronic music under Alessandro Cipriani. He completed his musical studies at the Istituto Vincenzo Bellini in Catania. He went on to do advanced courses with Aldo Clementi, Salvatore Sciarrino (composition), Giorgio Nottoli and Barry Truax (electronic music). He also undertook advanced studies in electroacoustic composition obtaining an advanced diploma with first class honours at the Licinio Refice Conservatory. His thesis dealt with the relationship between traditional composition and electroacoustic composition. He has won the following international competitions: first prize in the Irino Prize in Tokyo; first prize in the Reading Panel (Ircam/Ensemble Intercontemporain) in Paris; first prize in the Concours International de Musique Electroacustique in Bourges; first prize in the GRAME at the Centre National de Création Musicale in Lyon; first prize in the “juniores” section and first prize in the “senjores” section in the International Music Council/UNESCO IREM competition; first prize in the competition to represent Italy at the Frankfurt Opera House; and first prize in the Academy of Arts competition in Berlin. In Italy he has been awarded prizes by Cemat in Rome and the Fondazione Carloni in L’Aquila. He has also received the title of “Italian Fellow in the Arts” from the United States committee of the American Academy. He has received commissions from a wide range of prestigious musical bodies including Teatro La Fenice in Venice (a composition to inaugurate the reopening of the restored theatre), the Frankfurt Opera House, the Venice Biennale, the Paris-based Ensemble Intercontemporain, the Centre National de Creation Musicale in Lyon, the Orchestra Haydn in Bolzano, the Oslo Sinfonietta, the Orchestra Sinfonica Siciliana, the Festival Manca in Nice, the Istitute International de Musique Elettroacoustique in Bourges, the Quartetto Prometeo, the Luxembourg-based ensemble United Instruments of Lucilin and the Akademie der Künste in Berlin. He has acted as composer in residence at the American Academy and in electronic music studios in Berlin, Lyon and Bourges. He wrote the “talk-opera” Conversations with Chomsky for the Fondazione I Teatri di Reggio Emilia and for the Parco della Musica in Rome. The text of this work was written under the supervision of the renowned linguist and political activist Noam Chomsky. Casale’s compositions have been performed by interpreters, chamber groups and symphonic orchestras in concert series and festivals in Europe, the United States, South America and the Far East: the BBC Symphony Orchestra, the Orchestra della Rai, the Venice Biennale, the Huddersfield Festival, the Royal College of Music in London, the Teatro Colon in Buenos Aires and many others. The works of Emanuele Casale are published by Casa Ricordi-Universal Music. He teaches electroacoustic composition and sound design at the Palermo Conservatory.

Cod.Act

Jury2019

Under the label Cod.Act, André and Michel Décosterd combine their know-how. The first is a musician, composer and sound plastician, the second is an architect and plastician. Together they develop artistic productions such as performances and interactive installations. The basis of their approach is a reflection on sound and mouvement and their possible interaction. Since 1999, the two plasticians produce complex devices, lean and functional, which evoke the industrial universe. Imprinted with rationality, even radical in nature, their devices are at the core of their production but are not its finality. Indeed, the work intended is musical and is stored in encoded form in the device. Latent, it reveals itself to the public when the device is operated, either by the public in the case of interactive installations, or by the artists in the case of performances. Their devices do not deliver a unique and pre-defined content, but combine and organise information according to variable parameters. Random, ephemeral, multidimensional, their work reveals itself each time different, infinite. The devices created by Cod.Act translate physical movement into a sound phenomenon. They process the whole of the information they receive by a transfer mechanism. Thus, in the artists’ performances, starting with Siliknost I, toilsome actions (for example shovelling sand or pulling a rock) become the subject of the performance. Repeated to exhaustion, the gesture, codified and relayed by the device, generates a musical work, dense and complex, which spreads itself into space. The triteness and repetition of movements are in contrast to the subtlety of the work. Triteness is transgressed, absurdity becomes pertinence. Audacious, this transformation contains precisely the poetical dimension of the artists’ work. Marilyn Billod 2007

Francis Dhomont

Jury2019

Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Pierre Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition. An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for fixed media bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create. The Conseil des arts et des lettres du Québec has awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Victor Martyn Lynch-Staunton Award, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards. He is the editor of special issues published by Musiques & Recherches (Belgium) and of Électroacoustique Québec: l’essor (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical coeditor of the Dictionnaire des arts médiatiques (published by UQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio-France. In 1978-2005, he has divided his time between France and Québec, where he has taught at the Université de Montréal from 1980 to ’96. Since the fall of 2004 he lives in Avignon (France) and regularly presents his works in France and abroad. Great traveller, he participates in several juries. He is an Associate Composer of the Canadian Music Centre (CMC, 1989) and a Founding Member (1986) and Honorary Member (1989) of the Canadian Electroacoustic Community (CEC). In October 2007, Université de Montréal awarded him a honoris causa doctorate. He is the president of the collective Les Acousmonautes (Marseille, France) — until its dissolution in 2016 — and “Ehrenpatron” (honour patron) of the organization Klang Projekte Weimar (Germany). He is awarded the Qwartz Pierre-Schaeffer 2012 (Paris, France), Baiocco d’oro 2012 (Perugia, Italia), and the Grand prize of the Giga-Hertz-Preis 2013 (Karlsruhe, Germany). In November 2014 he becomes an Honorary Member of the International Confederation of Electroacoustic Music (ICEM). In 2017 he becomes the Honorary President of the Festival Klang! (Montpellier, France). He now focuses on composition and theory.

Lucia Ronchetti

Jury2019

Born in Rome in 1963, Lucia Ronchetti studied Composition and Computer Music at the Accademia di Santa Cecilia and Philosophy at the University of Rome. In Paris, she took composition seminars with Gérard Grisey, participated in the annual computer music courses at IRCAM (1997) and obtained her PhD in musicology at the École Pratique des Hautes Études en Sorbonne, under the direction of François Lesure (1999). In 2005 she was Visiting Scholar (Fulbright fellow) at the Columbia University Music Department in New York, at the invitation of Tristan Murail. Other important working experiences include those with Sylvano Bussotti (Scuola di musica di Fiesole, 1981-1984), Salvatore Sciarrino (Corsi internazionali di Città di Castello, 1989-1991), Hans Werner Henze (Marino, 1993-1996), Folkmar Hein (Elektronisches Studio der TU Berlin, 2006-2009), André Richard (Experimentalstudio des SWR, Freiburg, 2003-2005). Lucia Ronchetti has frequently been composer in residence: Villa Concordia, Bamberg; Studio für elektroakustische Musik, Akademie der Künste, Berlin; Schlossmediale Werdenberg, Zürich; Yaddo, New York; Berliner Künstlerprogramm des DAAD, Berlin; Fulbright scholar program, New York; Staatsoper of Stuttgart; Experimentalstudio des SWR, Freiburg; MacDowell Colony, Boston; Akademie Schloss Solitude, Stuttgart; Cité internationale des arts, Paris; Fondation Nadia Boulanger, Paris; Fondation des Treilles, Paris; Her music theatre projects were recently produced by Nouvelle Philharmonie, Paris (Inedia prodigiosa, 2019, Les Aventures de Pinocchio, 2017); Angers Nantes Opéra (Les Aventures de Pinocchio, 2019); Opéra de Rennes (Les Aventures de Pinocchio, 2019); Opera di Roma (Le avventure di Pinocchio, 2018); Romaeuropa festival, Roma (Le Avventure di Pinocchio, 2018, Inedia prodigiosa, 2016, Anatra al sal, 2014); Staatsoper Unter der Linden, Berlin (Rivale, 2017; Lezioni di tenebra, 2014, Last desire, 2011); Teatro Massimo, Palermo (Inedia prodigiosa, 2017); Berliner Ensemble (Abschlussball, 2016); Nationaltheater Mannheim (Aria da baule, 2016; Esame di mezzanotte, 2015, Lacus timoris, 2015, Neumond, 2011); Semperoper Dresden (Mise en Abyme, 2015, Sub-Plot, 2013, Contrascena, 2012); Festival d’Automne à Paris (Le Palais du silence, 2013, Helicopters and Butterflies, 2012). In 2019 the Nouvelle Philharmonie of Paris will present a new production of the choral opera Inedia Prodigiosa with the Ensemble Vocal Sequenza 9.3 conducted by Catherine Simonpietri. The Ensemble Intercontemporain will perform Les Aventures de Pinocchio in 20 concerts produced by the Angers Nantes Opéra, the Opéra de Rennes and other theatres of the region. The Biennale Musica di Venezia will produce the chamber theater work The Pirate Who Does Not Know the Value of Pi, written in collaboration with Eugene Ostashewsky for the Ensemble Arsenale. Tiziano Scarpa, Ermanno Cavazzoni, Ivan Vladislavic, Eugene Ostashevsky, Katja Petrowskaja, Iso Camartin and Toti Scialoja have written original librettos and texts for her Opera and Action concert pieces. Kairos has published in 2018 the CD, Action Concert Pieces, featuring the Ensemble Intercontemporain, Christian Dierstein, Michele Marco Rossi and the Orchestra Regionale Toscana. A first monographic CD, Drammaturgie (featuring Neue Vocalsolisten and Arditti Quartet) was published by Kairos in 2012. Stradivarius published the CDs Portrait in 2009 (Neue Vocalsolisten, Rundfunk-Sinfonieorchester Berlin, Roland Kluttig) and Xylocopa violacea in 2011 (Barbara Maurer, Reinhold Braig, Experimentalstudio Freiburg). Lezioni di tenebra (Katia Guedes, Daniel Gloger, Vocal Consort Berlin, PMCE) was published in 2011 by the Parco della Musica Records. Lucia Ronchetti has frequently been invited as composition teacher in various international composition courses. In 2018, for the second time, she has been invited by the Darmstädter Ferienkurse as teacher of composition. She has directed a project for composers and percussionists "Nature theatre of Darmstadt" together with Cathy Milliken, Françoise Rivalland, Christian Dierstein and Håkon Stene. In 2018, she was the supervisor for the young composers of the Biennale Musica-College and she has invited by the Ensemble Intercontemporain, for composition seminars at the Rennes-Opéra and at the Angers-Grand Théâtre. photo © Stefano Corso

João Pedro Oliveira

Jury2019

João Pedro Oliveira completed a PhD in Music at the University of New York at Stony Brook. His music includes one chamber opera, several orchestral compositions, a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic music and experimental video. He has received over 50 international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize in the same competition, the Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition, etc.. He is Professor at Federal University of Minas Gerais (Brazil) and Aveiro University (Portugal). He published several articles in journals, and has written a book about analysis and 20th century music theory. www.jpoliveira.com

Barry Truax

Jury2019

Barry Truax is a Professor Emeritus in the School of Communication (and formerly the School for the Contemporary Arts) at Simon Fraser University where he taught courses in acoustic communication and electroacoustic music. He worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works, music theatre pieces and those with live performers or computer graphics. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Truax’s multi-channel soundscape compositions are frequently featured in concerts and festivals around the world. In 2015-16 he was the Edgard Varèse Guest Professor at the Technical University in Berlin. Website: ww.sfu.ca/~truax

Hanna Hartman

Jury2019

Hanna Hartman is a Swedish composer, sound artist and performer living in Berlin. She studied literature and Theater history at the Universities of Uppsala and Stockholm, radio and interactive art at Dramatiska Institutet and electroacoustic music at Elektronmusikstudion, EMS in Stockholm. Since the early 1990s she has composed works for radio, electroacoustic music, ensembles, sound installations and given numerous performances all over the world. Her many awards and grants includes the Karl-Sczuka-Preis (2005), the Phonurgia Nova Prize (2006 & 2016), a Villa Aurora grant (2010), the Rosenberg Prize (2011) and Palma Ars Acustica 2018. During 2007 and 2008 she was Composer-in-Residence at the Swedish Radio. Hanna Hartman is a member of the German Academy of the Arts. Her work has been presented in numerous concerts and festivals, among others Wittener Tage für neue Kammermusik, Darmstädter Ferienkurse, Ultima Oslo Contemporary Music Festival, Huddersfield Contemporary Music Festival, El Nicho Aural, Akousma, mikromusik Berlin, Eclat Festival and Cut & Splice Festival.

Brigitta Muntendorf

Jury2019

The German-Austrian composer Brigitta Muntendorf creates music that exists at the intersection of various art forms and modes of expression, a web of multi-layered references and connections. A multimedia and interdisciplinary artist by default and steeped in the theatrical tradition, she aims to create a space for experimentation, both in her compositional work and as Artistic Director of Ensemble Garage. She treats music not as pure sound art, but as a social and aesthetic phenomenon in a society characterised by new digital media. Her work with communication in the field of virtual reality – something she also explores on an academic level – is particularly displayed in her six-part Public Privacy series that she started in 2013, which combines amateur music videos by YouTubers with a solo instrument playing live on stage. Brigitta Muntendorf has also written several experimental music theatre pieces, including works for the Taschenoperfestival Salzburg (2011-15), FIGO for the Münchner Biennale 2016 and the social media opera iScreen, YouScream!, premiered with great success in 2017 at the ECLAT Festival in Stuttgart. Together with the choreographer Stephanie Thiersch she presented Anne Halprin’s City Dances as a large-scale “City Happening” in 2016, commissioned by the Philharmonie Köln and the German Federal Cultural Foundation. In May 2018 the GrauSchumacher Piano Duo gave the world premiere of the third part of her Trilogy for two pianos at the KunstFestSpielen Herrenhausen, and presented the trilogy, started in 2015, for the first time in its entirety. Many of Brigitta Muntendorf’s artistic experiments are conducted with Ensemble Garage, which consists of ten musicians from seven different nations, and has already made a name for itself in the new music community with performances at the Darmstadt Summer Courses, Ultraschall Festival Berlin, aXes Festival Krakow, De Bijloke Ghent, Spor Festival Aarhus and at the Philharmonie Köln. The composer has also received commissions and performances from several other leading contemporary music ensembles at festivals including the Wittener Tage für neue Kammermusik, Festival d’Automne Paris, Festival Musica Strasbourg, Acht Brücken Festival in Cologne, Gaudeamus Muziekweek in Utrecht, Warsaw Autumn, Klang Festival in Copenhagen and Wien Modern. In addition, she works on projects with artists from across various genres, including directors Thierry Bruehl and Abdullah Kenan Karaca, the DJ Cio D’Or, the electro duo Mouse on Mars and choreographers Anna Konjetzky and Stephanie Thiersch. She has curated the Frau Musica (nova) series for Deutschlandfunk Köln since 2013. Brigitta Muntendorf completed her composition studies with Younghi Paagh-Paan at the University of the Arts in Bremen, as well as with Krzysztof Meyer, Rebecca Saunders and Johannes Schöllhorn at the Hochschule für Musik und Tanz Köln. She has received grants from the Cité Internationale des Arts Paris (2010), Ensemble Modern Akademie (2012), Villa Concordia Bamberg (2014/15) and Villa Kamogawa Kyoto (2017). In 2014 Brigitta Muntendorf received the Ernst von Siemens Music Prize in connection with the release of her CD It may be all an illusion. Most recently, she was awarded the 2017 German Music Authors’ Prize by GEMA in the Young Talent category. Since 2017 Brigitta Muntendorf has been a Visiting Professor of Composition at the Hochschule für Musik und Tanz Köln.