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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

Introduction (1/3)

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

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Introduction (2/3)

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 arts sake supporters?

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Introduction (3/3)
I had an obsession: a new instrument that would
free music from the tempered system. (E. Varese)

ORGANIZED SOUND
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Summary

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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (1/16)

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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (2/16)


Rhythmic complexity and tonal diversity.
Indefinite pitched percussion, free
atonality, musical forms which exist
independent of tradition.
Questing for new timbral sound
possibilities.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (3/16)


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.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (4/16)

Desert (1950-54): for Orchestra and


magnetic tape.
Poeme Electronique (1957-58): for
magnetic tape. The first multimedia work of
art.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (5/16)


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.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (6/16)


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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (7/16)

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.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (8/16)


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.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (9/16)


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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (10/16)


There will no longer be the old concept of
melody or interplay of melodies. The entire
work will be a melodic totality.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (11/16)


Music is a spatial phenomenon and therefore fuctions in four
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.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (12/16)


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 would be conscious of their
transmutations when they pass over different layers,
when they penetrate certain opacities, or are dilated in
certain rarefactions.
Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (13/16)


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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (14/16)


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)

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (15/16)

Sound as living matter.


Sound as an object.

Projection of sound-masses
moving into sonic space.
Form as consequence of a
process.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Edgard Varese fundamentals (16/16)

I was not influenced by composers as


much as by natural objects and physical
phenomena.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

Personal compositional language key points

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

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 (1/11)

Year 2000: the encounter with a popular


tradition.

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 (2/11)

Ammaraciccappa: Ecstatic Rhythms of South


Italy, Desert Voices and Metropolitan Sounds.
Al Qantarah: Electro-World Music from
Salento and Maghreb.

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 (3/11)

Electroacoustic trilogy:
- Canaja Canaja
- Moroloja
- Envoys
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 (4/11)

Canaja Canaja
An Electroacoustic song based on
a popular detention song

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 (5/11)

Moroloja
Is inspired by one of the funeral dirges collected by
Brizio Montinaro in the late 1970s in the strip of
land known as Greca salentina, a small area in the
South of the Apulian region where griko, a hellenic
dialect, is still spoken.
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

An Electroacoustic trilogy on traditional-popular music from Salento (7/11)


Beddha ci stai luntanu

Dolce lo mio drudo

SICILIAN, attributed to
FREDERICK II [1194 - 1250]
source: Codex Reina 6771 (Paris)

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

An Electroacoustic trilogy on traditional-popular music from Salento (11/11)

Envoys
Amsterdam 08/09/2007
International Gaudeamus Music
Week

ECPNM Live Electronics Contest


Final Concert

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

..::Electroshop::.. and Etheric Bodies (1/7)

..::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.

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

..::Electroshop::.. and Etheric Bodies (2/7)

Appropriate technological environment aestethics.


Aesthetics is strongly influenced by a subject that is
fundamental to me:

Communication and interaction between humans

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

..::Electroshop::.. and Etheric Bodies (4/7)

Etheric Bodies
for sounding sculptures, theremin, trumpet, bass clarinet, audio sequencing and live electronics.

Composed and produced at ICCMR in Plymouth (UK)


Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

..::Electroshop::.. and Etheric Bodies (5/7)


ETHERIC BODIES
SCORE TIMING
0

2.5

12

22

30

50

55

01.08

SEQ. 1

TR

TR

TR

G1=ON
SC1+LE

CL

TR

CL

G2=ON
CL

01.14

01.23

01.27

01.36

01.42

01.47

01.50

02.00

02.12

SC2+LE
TR

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

TR
CL=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=ON
LE

CL+TR

05.03

05.13

05.18

05.23

05.28

05.43

05.48

06.03

06.08

G4=ON
LE

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
TR+CL
SC3&4=FOUT

TR

THER=OFF
SC3&4=FIN

CL

TR

CL

07.25

07.29

07.31

07.38

07.51

08.03

08.16

08.21

07.33

Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone

Prof. A. Chiaramonte

..::Electroshop::.. and Etheric Bodies (6/7)


Etheric Bodies
1

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

A. Chiaramonte

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 Chiaramontes 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 Varse, "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