Second Day
Workshop – Lecture – Concert
Workshop – Lecture – Concert
21 February 2021
Double bass Extended Techniques
Composition Masterclass with Selected Composers of RKC 2020 (1)
A Study of Different Approaches of the Use of Human Voice in Electronic Music
Live Events
Double bass Extended Techniques
Next “Reza Korourian Awards” 2021 will be announced for Oud/Double bass and electronics. 4th “Tehran International Electronic Music Festival” will present two Workshops for the extended techniques of these instruments.
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Extended Techniques for Double Bass
Matthias Bauer
Sunday 21st February 2021 .13:00, Tehran Time
Pass code will be sent to registered participants.
Sara Abazari and Dimitri Papageorgiou
Masterclass Composition with selected composers of Reza Korourian Awards 2020
Sara Abazari
Dimitri Papageorgiou
Thursday 25 February 2021
Pass code will be sent to registered participants.
A Study of Different Approaches of the Use of Human Voice in Electronic Music
A study of different approaches of the use of human voice in electronic music
Madjid Tahriri
Sunday 21 February 2021, 18:00
The human voice as one of the main elements in music has been constantly considered by composers. On the one hand, the human voice as a flexible instrument to produce a variety of sounds, and on the other hand, the extensive possibilities of electronic music for fundamental changes in the components of the human voice, has led electronic music composers to create different works. In this works there can be seen different approaches of the use of human voice and their combination with electronic sounds.
Pass code: TIEMF2020
Shahrokh Khajenouri and Mehdi Jalali
An Insight Into the Beginning of the Electronic Music Education in Iran
Shahrokh Khajenouri and Mehdi Jalali
Live on Instagram
Sunday 21 February 2021. 22:30 Tehran Time
Daily Report
A Short Report on the Past and Upcoming Events
Introduction
I would like to extend a warm greeting to all of you and thank the organizers of this event for the precious opportunity offered to us again this year, I would like to thank especially MEHDI JALALI for the very welcome invitation to develop this collaboration and GELAREH SOLEIMANI LAVASANI coordinator of the operation. I also bring greetings from the president of the Cherubini Conservatory, Dr. Pasquale Maiorano and the Director, M ° Paolo Zampini.
I am very happy for the splendid work that Mehdi Jalali is doing for the dissemination and development of contemporary musical, technological and multimedia art in Iran. It was a great pleasure to meet him and to have had his presence in Florence, for our X multimedia exhibition The body / light / sound, where we were able to perform a large collection of electro-acoustic and multimedia works by various Iranian authors, appreciating the very high artistic and technological level of these works capable of placing themselves in the international contemporary context, expressing a truly special character. It was a great opportunity for all of us to get closer to Iranian contemporary music and I am happy now to be able to contribute, to some extent, to Mehdi Jalali’s commitment, by participating in this new event with the performance of various electroacoustic music works and a series of audiovisual works created as part of the activities of our Department and the Segni Digitali multimedia center, a laboratory for multimedia production, which I founded and directed for the Conservatory.
The Conservatory of Florence has a long tradition of over 50 years in the field of technological research applied to music and already in 1966 it was the first Conservatory of music in Italy to have a course completely dedicated to the study of Electronic Music and a Center dedicated to research in the field of Computer Music by creating a partnership with CNUCE and IEI Institutes of the National Research Council of Pisa, and, personally, I have the honor of continuing this tradition for the past 29 years with the precious help of other colleagues. The Conservatory of Florence currently carries out an intense activity of training, research and artistic production, giving space to the creative energies of many young artists who carry out their study and research work here. Around 100 students are currently involved.
We are also engaged in intense dissemination and collaboration activities with other international centers and artists, promoting contact with the public through various concerts and multimedia installations. I would like to mention here two projects of our production, of particular importance for us, such as “THE BODY / THE LIGHT / THE SOUND”, annual multimedia review, now in its tenth edition, and the biennial international festival “DIFFRACTIONS / Firenze multimedia Festival”, whose third edition was held in 2019. In the last edition of Diffrazioni, 150 artists from 27 countries of the world participated with over 150 multimedia works involving over 70 institutions including many works by Iranian artists. This commitment of ours, as well as yours, I firmly believe is of fundamental importance for the dissemination and affirmation of new electroacoustic music works and multimedia works, favoring the knowledge, meeting and comparison of new and different languages, favoring the intuition and experimentation with new technologies capable of giving shape to new paths of the imagination. I believe this to be of fundamental importance because the art of our time can help us to know the human mind more deeply, it can help us for the growth of new generations of artists and above all promote the formation of beautiful people. I hope that in the future there are still the conditions to continue this important collaboration successfully started, thus consolidating this privileged channel of exchange and cultural comparison between Tehran and Florence for mutual enrichment.
Thanks again and good luck …
The Department of New Technologies and Musical Languages of the “Luigi Cherubini” Conservatory of Music in Florence, following the invitation to establish a collaboration with the Electroacoustic Music Competition “Reza Korourian Awards”, due to the specificity of the themes and intentions they share both institutions, is happy to give its consent and its contribution, collaborating in the forms deemed most suitable. We firmly believe in cultural and artistic exchange, between cultures that have profound traditions from whose comparison suggestive insights can arise. The exchange / meeting, which begins with this edition, we hope that it will have a lasting development over time, constituting a privileged bridge of knowledge and interaction between Tehran and Florence in favor of those artists who undertake
Firenze, 10 febbraio 2021
Concert (Curated by Alfonso Belfiore)
Nuvole (Clouds)
Nuvole is an algorithmic composition inspired by meteorological phenomena. After a lot of research on clouds behaviors, I selected ten kinds of clouds and for each type, some features like height, density, shape and precipitations. I synthesized a sound for each type with a granular synth. The grains for the synthesis of the ten sounds come from the same sample (the one you can listen to at the beginning of Nuvole). Like real clouds are made of the same element, in a different state. There are five more sounds in Nuvole: two of them represent the sun and the wind, (responsible elements of the water cycle) and three represent rain, snow and hail. The original version of the composition is octophonic. The next step of the project would be building an installation where I can recreate the sense of space, so the listener can feel himself as he were at the top of a hill, watching the clouds fly high in the sky.Davide Salvadori
Biography
I Woke Up
he work tells the story of bipolar disorder in all its phases. It is based on three distinct plans: one graphic, one video and one acoustic. For the graphic part, I chose to use a drawing, which will be revealed in its entirety only at the end because I believe it fully represents the two “ghosts” that condition the life of the subject: the deep depression and uncontrolled euphoria.
The video representation instead, shows what a person feels on his body: the discomfort to which the individual is subjected to, the excess, the abuse of substances, the uncontrollable oscillation of emotions, the loss of knowledge of time, good and evil. I deliberately do not show the face of the subject in the video recordings to leave viewers the opportunity to identify with the story instead of the person.
On an acoustic level, I wanted to use a small fragment of the song, “I Woke Up”, by Thom Yorke, which reads “I woke up with a feeling I just could not take”, which in my opinion fully represents the impossibility of controlling one’s emotions, day after day.
Around this fragment, I built a sound environment that could accompany the images but not overpower them, so as to give importance to all aspects of the work. My main goal is to suggest and leave something with the listener, a sensation, a thought.
Anna Boso
Biography
Pandemic Nature
The installation /video represents the nature’s “reconquest” of spaces usually occupied by man which are currently banned because of Covid 19 preventive measures. I have tried to convey my point of view through the work regarding the almost impossible coexistence between man and the nature in a context like ours, characterized by the exploitation of resources and the consequent removal of fauna.
Bernardo Zampini
Biography
Nel concavo cielo (In the Concave Sky)
Nel concavo cielo (In the Concave Sky) is a nocturnal meditation with noses up; the falling stars’ impermanence becomes persistent in the sky of our dreams, where an imaginary language meets an imaginary universe. The title is a tribute to the early 20th century Italian poet Giovanni Pascoli.
Carlotta Ferrari
Biography
Pizzo Marina, Estate 2019
This series of deconstructed sonic postcards, captured in the sea village in the south of Italy, were used by narrative and compositional means to express the idea of a symbiotic relation between man and sea. The aim is to build affection in listeners for the place, intended not only as geographical spot but also as cradle of experience, culture and spirituality in which we can immerse and find our own story.
Fausto Caricato
Biography
Child Dreaming
Imaging the sleep of a little child, a prime void filled by flashes of emotions and memories, silences, fears and joys, laughs and screams transforms itself in a deep path to the awakening.
Giacomo Guerrini
Biography
Child Playing
This track is freely inspired by a child playing in his first eighteen months of life.
Playing with waves and samples and recording some of those lives with microphone allowed me to experiment granular synthesis and gave me an opportunity to design a special point of view of that memorable moment of a little child.
Giacomo Guerrini
Biography
Transitorietà Sonora
Transitorietà Sonora (Sonic Transience) is an electroacoustic music piece designed to highlight a way in which sound and its state are continuously evolving. Rational exploration and thematic emotionality are connected in order to create a language capable of a narration for the listener.
On a thematic basis, the piece wants to represent an individual who loses his memories. Imagine waking up in the morning without any remembrance of what you were or did in the past. That state of confusion and anxiety with which you would try to understand the environment that surrounds you, up to almost resigning to an irreversible event.
The two sections of the piece trace these two possible emotions: the early chaotic breathlessness and the ordered confusion of an almost resignation. The piece comes to life with the exploration of sound’s attack transients, the most chaotic moment of every sound event, therefore, some piano chords were recorded and some samples, with duration of 10 and 20 ms, were extrapolated from them. Those portions of sound were then stretched in order to reach durations between 20 and 30 seconds, so that the transients were transformed in textures characterized by slow and irregular oscillations.
Transitorietà Sonora searches for a conjunction between exotic and destabilizing sound materials and a harmonic-easily interpretable language. The result is a piece of music in which the difference and the temporal division between the two moments is evident but, at the same time, such horizon doesn’t behave like a wall, but as a membrane, the two sections influence each other and flow one in the other.
Lorenzo Camilletti
Biography
Chernobyl
The piece is the first proper track I made with the help of the electronic means. It was created from the first sound we are able to hear: that growing substratum with sporadic clips. It made me think to a geiger counter diving into a radioactive field, so Chernobyl contaminated my mind. I tried to capture the essence of the disaster that shocked the entire world over 30 years ago and still keeps its ecological relevance today. Despite the harshness and crudeness of the first two sections, in which I wanted to attract the listener’s attention to the colossal ecological and societal catastrophe just before and after the disaster, the last one is a praise to the natural forces that can often overcome all the problems they run into and make life happen again. Enjoy!
Lorenzo Milani
Biography
I Am Still Here
A tragic event once happened in my life that changed my vision of things. I tried to find a reason, to explain to myself what had happened; but because I didn’t want to feel the real inner pain, instead, I wrote two poems to overcome the sadness. Additionally, the tragic event led me to work on a new project and to create a sound-track ideally capable to reach every listener’s soul. I created my piece based on my two poems and while working on the piece, I was inspired by movie soundtracks and I chose specific sounds to recreate a cinematic ambience.
I created most of the sounds for the work on my computer—using pure electronic sounds but also recording some concrete sounds on my own. The piece consists of three large sections which are supposed to represent three different steps that we experience after a tragic event. The first section represents the physical and actual event happening; the second suggests a mood of limbo, where nothing is certain and time seems to stop for a while; finally, the third section instead drives us in a more “happy” mood. The poem I chose to do so in this section gives us hope through words that the loved ones we lost will always be with us, even in a non-physical way.
Viola Luciotto
Biography
Pie Jesu
The word “Pie Jesu”, as the final part of the Dies Irae hymn, adopted in some requiem mass, refers to the sacrality of this composition, at least in reference to the author.
Poor-quality sounds, recorded in a “poor” environment (a call-center) with just a cell phone ask to elevate their dignity becoming a voice, a prayer.
This is also a prayer by the author and, like most of the requiem mass, the music could be a caress for himself; the noise of a despised environment become the light ( at least for a moment) that stands out as an innocent tonal voice.