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Live-Electronic Music
During the twentieth century, electronic technology enabled the explosive
development of new tools for the production, performance, dissemination
and conservation of music. The era of the mechanical reproduction of music
has, rather ironically, opened up new perspectives, which have contributed
to the revitalisation of the performer’s role and the concept of music as per-
formance. This book examines questions related to music that cannot be set
in conventional notation, reporting and reecting on current research and
creative practice primarily in live electronic music. It studies compositions
for which the musical text is problematic, that is, nonexistent, incomplete,
insufciently precise or transmitted in a nontraditional format. Thus, at the
core of this project is an absence. The objects of study lack a reliably pre-
cise graphical representation of the work as the composer or the composer/
performer conceived or imagined it. How do we compose, perform and
study music that cannot be set in conventional notation? The authors of
this book examine this problem from the complementary perspectives of
the composer, the performer, the musical assistant, the audio engineer, the
computer scientist and the musicologist.
Friedemann Sallis is Professor and Director of Graduate Studies in the
Music Department at the University of Calgary, Canada.
Valentina Bertolani is currently pursuing a PhD in musicology at the
University of Calgary, Canada.
Jan Burle is a scientist at Jülich Centre for Neutron Science, Forschungszentrum
Jülich GmbH, Outstation at MLZ in Garching, Germany.
Laura Zattra is a Research Fellow at Institut de Recherche et Coordination
Acoustique/Musique (IRCAM) in Paris, France.
Live-Electronic Music
Composition, Performance, Study
Edited by Friedemann Sallis, Valentina
Bertolani, Jan Burle and Laura Zattra
First published 2018
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2018 selection and editorial matter, Friedemann Sallis, Valentina
Bertolani, Jan Burle, and Laura Zattra; individual chapters, the
contributors
The right of Friedemann Sallis, Valentina Bertolani, Jan Burle, and
Laura Zattra to be identied as the authors of the editorial material,
and of the authors for their individual chapters, has been asserted in
accordance with sections 77 and 78 of the Copyright, Designs and
Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identication and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British
Library
Library of Congress Cataloging-in-Publication Data
[CIP data]
ISBN: 978-1-138-02260-7 (hbk)
ISBN: 978-1-315-77698-9 (ebk)
Typeset in Times New Roman
by codeMantra
Every effort has been made to contact copyright-holders. Please
advise the publisher of any errors or omissions, and these will be
corrected in subsequent editions.
List of gures viii
List of contributors xiii
Acknowledgements xvii
Introduction 1
FRIEDEMANN SALLIS, VALENTINA BERTOLANI,
JAN BURLE AND LAURA ZATTRA
PART I
Composition 15
1 Dwelling in a eld of sonic relationships: ‘Instrument’ and
‘listening’ in an ecosystemic view of live electronics performance 17
AGOSTINO DI SCIPIO
2 (The) speaking of characters, musically speaking 46
CHRIS CHAFE
3 Collaborating on composition: the role of the musical assistant
at IRCAM, CCRMA and CSC 59
LAURA ZATTRA
PART II
Performance 81
4 Alvise Vidolin interviewed by Laura Zattra: the role of the
computer music designers in composition and performance 83
LAURA ZATTRA
Contents
vi Contents
5 Instrumentalists on solo works with live electronics: towards a
contemporary form of chamber music? 101
FRANÇOIS-XAVIER FÉRON AND GUILLAUME BOUTARD
6 Approaches to notation in music for piano and live electronics:
the performer’s perspective 131
XEN I A PE ST OVA
7 Encounterpoint: the ungainly instrument as co-performer 160
JOHN GRANZOW
8 Robotic musicianship in live improvisation involving
humansand machines 172
GEORGE TZANETAKIS
PART III
Study 193
9 Authorship and performance tradition in the age of technology
(with examples from the performance history of works by Luigi
Nono, Luciano Berio and Karlheinz Stockhausen) 195
ANGELA IDA DE BENEDICTIS
10 (Absent) authors, texts and technologies: ethnographic
pathways and compositional practices 217
NICOLA SCALDAFERRI
11 Computer-supported analysis of religious chant 230
DÁNIEL BIRÓ AND GEORGE TZANETAKIS
12 Fixing the fugitive: a case study in spectral transcription of
Luigi Nono’s A Pierre. Dell’azzurro silenzio, inquietum. À più
cori for contrabass ute in G, contrabass clarinet in B at and
live electronics (1985) 253
JAN BURL E
Contents vii
13 A spectral examination of Luigi Nono’s A Pierre.
Dell’azzurro silenzio, inquietum (1985) 275
FRIEDEMANN SALLIS
14 Experiencing music as strong works or as games: the
examination of learning processes in the production and
reception of live electronic music 290
VINCENT TIFFON
Bibliography 305
Index 000
1.1 Agostino Di Scipio, Two Pieces of Listening
andSurveillance. Diagram of the complete
performanceinfrastructure 21
1.2 Agostino Di Scipio, Two Pieces of Listening and
Surveillance, sketch of the complete process 24
1.3 Agostino Di Scipio, Two Pieces of Listening and
Surveillance, graphic score for ute action (excerpt) 27
1.4 Agostino Di Scipio, Two Pieces of Listening and
Surveillance (score excerpt), signal ow chart describing
some of the digital signal processing 32
2.1 The Animal algorithm is comprised of two parallel
resonators with the logistic map in their feedback path 49
2.2 Amplitude and spectrogram display of two seconds of
sound from ramping up ratios of resonator delay lengths
from 1.04 to 8.0 53
2.3 Amplitude and spectrogram display of two seconds of
sound from ramping up feedback gain to both resonators
from 0.0 to 1.0 53
2.4 Amplitude and spectrogram display of two seconds of
sound from changing the balance between resonators 54
2.5 Amplitude and spectrogram display of two seconds of
sound from ramping up the low band pass frequency from
550 to 9000 Hz 54
2.6 Amplitude and spectrogram display of two seconds of
sound from ramping up ratios of resonator low band pass
frequencies from 1.003 to 4.0 54
2.7 Amplitude and spectrogram display of two seconds of
sound from ramping up the parameter r of the logistic map 55
3.1 Pierre Boulez at a desk working on Répons at IRCAM,
1984 (IRCAM, Paris, Espace de projection) 65
3.2 1975: Pierre Boulez brought an IRCAM team to CCRMA
for a two-week course in computer music 69
Figures
Figures ix
3.3 Richard Teitelbaum (standing) and from left to right Joel
Chadabe, and musical assistants Mauro Graziani and
Alvise Vidolin in 1983, Venice Biennale, Festival ‘La scelta
trasgressiva’ 73
5.1 Population distribution in terms of their rst experience in
musique mixte 103
5.2 Schematic depiction of the social interaction in
musique mixte 104
6.1 Jonty Harrison, Some of its Parts, page 3 (excerpt) 135
6.2 Heather Frasch, Frozen Transitions, page 2 (excerpt) 137
6.3 Lou Bunk, Being and Becoming, bars 58–60 of full score 139
6.4 Lou Bunk, Being and Becoming, bars 58–60 of
performance score 140
6.5 Denis Smalley, Piano Nets, page 11 (excerpt) 140
6.6 Elainie Lillios, Nostalgic Visions, page 2 (excerpt) 141
6.7 Juraj Kojs, Three Movements, page 2 (excerpt) 143
6.8 Juraj Kojs, All Forgotten, page 14 (excerpt) 144
6.9 Per Bloland, Of Dust and Sand, bars 73–75 (piano part) 145
6.10 Larry Austin, Acci d e n ts Two, Event 36 1/2 146
6.11 Dominic Thibault, Igaluk: To Scare the Moon with its Own
Shadow, bars 213–15 147
6.12 Hans Tutschku, Zellen-Linien, page 1 (excerpt) 148
6.13 Bryan Jacobs, Song from the Moment, bars 84–92 149
6.14 Scott Wilson, On the Impossibility of Reection, bars 1–4 150
6.15 Alistair Zaldua, Contrejours, page 3 (excerpt) 152
6.16 Karlheinz Essl and Gerhard Eckel, Con una Certa
Espressione Parlante, page 6 (excerpt) 154
6.17 Karlheinz Essl and Gerhard Eckel, Con una Certa
Espressione Parlante, page 9 (excerpt) 155
6.18 (a) The author with The Rulers, image by Vanessa
Yaremchuk. (b) Detail from Figure 6.18a 156
6.19 D. Andrew Stewart, ‘Sounds between Our Minds, page 4,
full score (excerpt). The Rulers notation is shown on the
two bottom staves 156
7.1 A partially 3D printed version of Hans Reichel’s
daxophone constructed by author, with the ‘dax’ resting on
tongue 162
8.1 Mahadevibot robotic percussion instruments designed by
Ajay Kapur 174
8.2 Early robotic idiophones by Trimpin 176
8.3 Percussion robots with microphone for self-listening 179
8.4 Velocity calibration based on loudness and timbre:
(a) MFCC-values, (b) MFCC-inverse-mapping,
(c) PCA-values, (d) calibrated PCA 182
x Figures
8.5 Pattern recognition – average precision for different
gestures on the radiodrum and vibraphone. The mean
average precisions (MAP) are 0.931 and 0.799 185
8.6 Kinect-sensing of free space mallet gestures above a vibraphone 187
8.7 Virtual vibraphone bar faders 188
8.8 Trimpin next to one of the robotically actuated piano
boards developed for Canon X + 4:33 = 100 189
9.1 Charles Rodrigues, ‘And now, electronic music of
Stockhausen...’, Stereo Review (November 1980) 195
9.2 (a) Luciano Berio, Sequenza I (Milan: Edizioni Suvini
Zerboni, n.d.), p. [1] (© 1958), S. 5531 Z. (b) Luciano
Berio, Sequenza I (Milan: Edizioni Suvini Zerboni, n.d.),
performance notes, p. [1] (© 1958), S. 5531 Z 199
9.3 Luciano Berio, Sequenza I (Vienna: Universal Edition,
n.d.), p. [1] (© 1998), UE 19 957. 201
9.4 Karlheinz Stockhausen, Kreuzspiel, Kontra-Punkte,
Zeitmaße, Adieu, The London Sinfonietta, Dirigent:
Karlheinz Stockhausen, LP Hamburg: Polydor 1974,
dustjacket LP Deutsche Grammophon (2530 443) 203
9.5 (a) Karlheinz Stockhausen, Kreuzspiel (Vienna: Universal
Edition, n.d.), performers notes, n. p (© 1960); UE 13
117. (b) Karlheinz Stockhausen, Kreuzspiel, rev. 4th edn.
(Vienna: Universal, 1990), performance notes,
n. p. (UE 13 117) 204
9.6 Luciano Berio, Sequenza III (London: Universal, n.d.),
p. [1] (© 1968), UE 13 723. 206
9.7 Luciano Berio, handwritten page from the electronic score
of Ofaním, cue clarinet (Luciano Berio Collection, Paul
Sacher Foundation) 208
10.1 Simha Arom, analysis of the music of Banda Linda
as found among Luciano Berio’s sketches for Coro
(Scherzinger 2012, 412) 221
10. 2 Steven Feld, wearing DSM microphones, records canti
a zampogna (voice: Giuseppe Rocco, zampogna: Nicola
Scaldaferri). Accettura (Matera, Italy) 14 May 2005;
(Scaldaferri and Feld 2012, 84) 226
11.1 Qur’an sura, Al-Qadr recited by Sheikh Mahmûd Khalîl
al-Husarî, pitch (top, MIDI units) and energy (bottom,
decibels) contours 232
11. 2 Qur’an sura, Al-Qadr recited by Sheikh Mahmûd Khalîl
al-Husarî, recording-specic scale derivation 233
11.3 Screen-shot of interface: paradigmatic analysis of neume
types in Graduale Triplex 398 as they relate to
melodic gesture 234
Figures xi
11.4 Béla Bartók, transcription of Mrs. János Péntek
(#17b) from 1937 238
11.5 Density plot of the recording of Mrs. János Péntek 239
11.6 Density plot transcription of the recording of Mrs. János Péntek 240
11.7 Pitches, based on the density plot, ordered in terms of their
density 240
11.8 Pitches, based on the density plot, ordered in terms of
scale degree 240
11.9 Bartók’s original transcription, juxtaposed with the
version with scales derived from density plot 241
11.10 Bartók’s Original Transcription, juxtaposed with the
version with scales derived from the density plot; primary
pitches have note heads marked by an ‘x’, secondary
pitches by a triangle and tertiary pitches by a diagonal line
through the note head 241
11.11 Sirató, paradigmatic analysis of text/melody relationship
as displayed in the cantillion interface 242
11.12 Pitch-histograms of Genesis chapters 1–4 (a) and Genesis
chapter 5 (b) as read in The Hague by Amir Na’amani in
Novemb er 2011 244
11.13 (a) Distribution of distances between unrelated segments.
(b) Distributions of distances between sof pasuq renditions
in Italian (a) and Moroccan (b) renditions 246
11.14 (a) Density plots of frequencies occurring in
Indonesian (a) and Dutch (b) recitation of sura al
Qadr. (b) Scale degrees derived from Indonesian (solid)
and Dutch (dashed) pitch density plots for sura al Quadr.
(c) Contours of the same cadence as sung by Dutch (a) and
Indonesian (b) reciters quantised according to the derived
scale degrees 247
12 .1 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
diagrams of the position of the loudspeakers (left) and the
live electronic conguration with line recordings identied
(right) (Nono 1996, xv) 259
12.2 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
unprocessed spectrogram of a performance recorded on 28
February 2009 262
12.3 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
spectrogram of the contrabass clarinet sound recorded on
28 February 2009 262
12.4 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
spectrogram of the contrabass ute part, bars 4–7,
recorded on 28 February 2009 263
12.5 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
manual transcription of sound of the ute and clarinet, bars 1–9 264
xii Figures
12.6 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
bars 15–31 268
12 .7 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
contrabass clarinet part, bars 24–25, (a–c) present stages of
the transcription process 270
12.8 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
contrabass ute part, bars 24–25, (a–c) present stages of
the transcription process 271
12.9 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
contrabass ute and contrabass clarinet parts, bars 17–29,
(a) Loris analysis, (b) nal transcription 272
13.1 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
transcription of the entire performance, recorded in Banff
on 28 February 2009 281
13.2 Luigi Nono, A Pierre. Dell’azzurro silenzio, inquietum,
transcription of sounds produced by the contrabass ute
and the contrabass clarinet directly, bars 17–29 282
13.3 Luigi Nono, A Pierre, transcription of sounds produced by
the harmonisers and lter 3, bars 17–29 283
13.4 Luigi Nono, A Pierre, amalgamation of Figures 13.2 and
13.3, bars 17–29 284
13.5 Luigi Nono, Notes for a lecture ‘Altre possibilità di
ascolto’ presented during August 1985 at the Fondazioni Cini 288
14.1 Marco Stroppa, …of Silence…, photo of the ‘acoustic totem’ 293
14. 2 Marco Stroppa, …of Silence…, diagram of the audio setup 294
14. 3 XY installation, diagram of the audio device and capture 295
14. 4 XY installation, technical schemata 295
Valentina Bertolani is a PhD candidate at the University of Calgary. Her dis-
sertation focuses on the relationships among American, Canadian and
Italian avant-garde collectives of composers/performers in the 1960s and
1970s, focusing on their aesthetic principles and improvising procedures.
She holds a Masters in Musicology from the University of Pavia. She
presented her work at society meetings and International conferences in
Canada, the UK, France, Italy and Japan. Valentina has been the recip-
ient of several awards, and in 2016 she received an Izaak Walton Killam
Pre-doctoral scholarship.
Dániel Péter Biró is Associate Professor of Composition and Music Theory
at the University of Victoria, BC, Canada. After studying in Hungary,
Germany and Austria, he completed his PhD in composition at Prince-
ton University in 2004. He was Visiting Professor, Utrecht University in
2011 and Fellow at the Radcliffe Institute for Advanced Study, Harvard
University in 2014–2015. In 2015, he was elected to the College of New
Scholars, Scientists and Artists of the Royal Society of Canada.
Guillaume Boutard is an Assistant Professor in the Department of Library
and Information Studies at the State University of New York at Buffalo
(SUNY Buffalo). His research interests include digital curation and pres-
ervation, creative process documentation methodologies, especially in
relation to music and digital technology. He holds a PhD in Informa-
tion Studies (McGill University), an MSc in Computer Science (Pierre
et Marie Curie University-Paris VI), a MSc in Geophysics (Pierre et
Marie Curie University-Paris VI), and conducted a two-year postdoc-
toral research in the music department of the Université de Montréal.
He previously worked at IRCAM (Institut de Recherche et Coordination
Acoustique/Musique) as an engineer from 2001 to 2009.
Jan Burle currently develops scientic software at Jülich Centre for Neutron
Science in Garching bei München, Germany. Before that, he was Assis-
tant Professor in the Music Department at the University of Lethbridge,
Canada. His main research interest is general application of computing
Contributors
xiv Contributors
related to musical sound and music: analysis, transcription, microtonal
aspects, performance and reception.
Chris Chafe is a composer, improviser and cellist, developing much of his
music alongside computer-based research. He is Director of Stanford
University’s Center for Computer Research in Music and Acoustics
(CCRMA). Computer synthesis of novel sounds and music remains an in-
terest ever since his rst exposure to the work of John Chowning, William
Gardner Schottstaedt and David Wessel as a student at the Center in the
1970s and 1980s.
Angela Ida De Benedictis is a scholarly staff member and curator at the
Paul Sacher Foundation. Previously she was Assistant Professor at the
University of Pavia (Cremona), and she taught at the Universities of
Padova, Salerno, Parma and Berne. Among her scholarly interests are
the Italian postwar avant-garde, radiophonic music, music theatre,
study of creative process, and electronic music. Publications includes
the writings of Luigi Nono (Ricordi 2000 and il Saggiatore 2007) and
Luciano Berio (Einaudi 2013); Imagination at Play. The Prix Italia and the
Radiophonic Experimentation (RAI/Die Schachtel 2012); Radiodramma e
arte radiofonica (EDT 2004); New Music on the Radio (ERI-RAI 2000),
critical editions of Maderna’s, Nono’s and Togni’s work (by Suvini
Zerboni and Schott) and other books and essays of theory and analysis
mainly featuring twentieth-century music.
Agostino Di Scipio composer, sound artist, scholar. As a scholar, he is in-
terested in the cognitive and political implications of music technologies
and in systemic notions of sound and auditory experience. As a com-
poser, he is well known for performance and installation works based on
man-machine-environment networks. A thematic issue of Contemporary
Music Review documents his efforts in such direction. He is a DAAD
artist (Berlin 2004–2005) and Edgar-Varèse-Professor at Technische
Universität (Berlin 2007–2008). He is a Full Professor of Electroacoustic
Composition at Conservatory of Naples (2001–2013) and L’Aquila (since
2013).
François-Xavier Féron holds a Master’s Degree in musical acoustics (University
of Paris VI) and a PhD in musicology (University of Paris IV). After t eaching
at the University of Nantes (2006–2007), he was a postdoctoral researcher at
the Centre for Interdisciplinary Research in Music Media and Technology
(CIRMMT, Montreal, 2008–2009), then at the Institut de Recherche et
Coordination Acoustique/Musique (IRCAM, Paris, 2009–2013). Since 2013,
he has been a tenured researcher at the French National Centre for Scientic
Research (CNRS) and works at the LaBRI (Laboratoire Bordelais de
Recherche en Informatique). His research focuses on contemporary musical
practices, perception of auditory trajectories and, more broadly, on interac-
tions between art, science and technology.
Contributors xv
John Granzow is Assistant Professor of Performing Arts Technology at the
University of Michigan. He teaches musical acoustics, sound synthesis,
performance systems and digital fabrication. He initiated the 3d Printing
for Acoustics workshop at the Centre for Computer Research in Music
and Acoustics at Stanford. His instruments and installations leverage
found objects, iterative CAD design, additive manufacturing and embed-
ded sound synthesis.
Xenia Pestova’s performances and recordings have earned her a reputa-
tion as a leading interpreter of uncompromising piano repertoire of her
generation. Her commitment and dedication to the promotion of mu-
sic by living composers led her to commission dozens of new works and
collaborate with major innovators in contemporary music. Her widely
acclaimed recordings of core piano duo works of the twentieth century
by John Cage and Karlheinz Stockhausen are available on four CDs
for Naxos Records. Her evocative solo debut of premiere recordings for
piano and toy piano with electronics on the Innova label titled Shadow
Piano was described as a ‘terric album of dark, probing music’ by the
Chicago Reader. She is the Director of Performance at the University of
Nottingham. www.xeniapestova.com.
Friedemann Sallis is Professor at the School of Creative and Performing
Arts of the University of Calgary. He is an established scholar with an in-
ternational reputation in the eld of sketch studies and archival research
in music. His research interests include the study of music that escapes
conventional notation (such as live electronic music) and of how music
relates to place. Recent publications include Music Sketches (Cambridge
University Press, 2015), Centre and Perip hery, Roots and Exile: Interpreting
the Music of István Anhalt, György Kurtág and Sándor Veress (Wilfrid
Laurier University Press, 2011), as well as numerous articles on twentieth-
century music. Over the past twenty years, he has received six standard re-
search grants from the Social Sciences and Humanities Research Council
of Canada.
Nicola Scaldaferri is Associate Professor of Ethnomusicology at the University
of Milan, where is the director of the LEAV (Laboratory of Ethnomusicol-
ogy and Visual Anthropology). He received his PhD in Musicology at the
University of Bologna and the degree in Composition at the Conservatory of
Parma; he was Fulbright scholar at Harvard University and visiting professor
at St. Peterburg State University. His interests include twentieth-century
music and technology, Balkan epics, Italian folk music, instruments from
Western Africa. Among his recent publications: When the Trees Resound.
Collaborative Media Research on an Italian Festival (2017, edited with Steven
Feld).
Vincent Tiffon is a Professor of musicology at the University of Lille, re-
searcher in the CEAC research centre, and co-director of the EDESAC
xvi Contributors
research team. He is also an associated researcher at IRCAM in Paris.
Tiffon’s research addresses the history, analysis and aesthetics of elec-
troacoustic and mixed musics and takes special interest in analysing the
creative process in music and musical mediology. His work has been
published in journals including Acoustic Arts & Artifacts/Technology,
Aesthetics, Communication, Analyse musicale, Les Cahiers du Cirem, Les
Cahiers de Médiologie, Contemporary Music Review, DEMéter, Filigrane,
LIEN, Medium, Médiation et communication, Musurgia, NUNC, Revue
de musicologie, and Circuit.
George Tzanetakis is Professor at the Depar tment of Computer Science at the
University of Victoria, BC, Canada. He holds cross-listed appointments
at the School of Music and the Electrical and Computer Engineering
Department. He received his PhD at Princeton University in 2002. In
2011, he was a visiting scientist at Google Research in Mountainview,
California. Since 2010, he has been a Canada Research Chair (Tier II) in
the computer analysis of music and audio.
Laura Zattra obtained her PhD at Sorbonne/Paris IV and Trento Univer-
sity. She collaborates with research centres, archives and universities
(Padova, De Monfort, Calgary, Sorbonne). Research Associate at the
Analysis of Musical Practices Research Group, IRCAM-CNRS (Paris)
and IreMus (Paris-Sorbonne). Her research interests cover twentieth-
and twenty-rst-century music, especially the interaction of music and
technology, collaborative artistic creativity, the analysis of composi-
tional process, women’s studies and music. She is currently lecturing at
University of Padova, as well as at the Parma and Rovigo conservatoires
(It aly).
The editors would like to he artily than k Heidi Bishop and Ann ie Vaughan for
patiently shepherding us through the publication process. Their kind advice
was much appreciated. We would also like to thank Elizabeth Levine for her
help in getting this project up and running. We are grateful to the following
people and institutions for allowing us to publish material for which they
hold copyright: John Chowning and the Center for Computer Research in
Music and Acoustics (CCRMA) of Stanford University, Marion Kalter,
Marco Mazzolini (Casa Ricordi), Nuria Schoenberg Nono and the Archivio
Luigi Nono, Alvise Vidolin and the Centro di Sonologia Computazionale
(CSC) of the Università di Padova, as well as Edizioni Suvini Zerboni, the
Institut de Recherche et Coordination Acoustique/Musique (IRCAM),
the Paul Sacher Foundation and Universal Edition.
Acknowledgements
Part II
Performance
Alvise Vidolin: My original training has been characterized by a rational
mental attitude. The electroacoustic music world, and even more computer
music, are however abstract worlds. They equally require and allow (almost
a contradiction) a rigorous evasion. An engineer has to sort things out with
operational purposes. In this eld on the other hand you have the satisfac-
tion of obtaining results based on consistent and precise models, for the
sheer pleasure of the human intellect. I am fascinated by this construction
of the absurd and the utopian.
(interviewed by Laura Zattra on 27 July 1999).
With these words, Alvise Vidolin (born 1949 in Padova) describes his pro-
fession, marked by an entanglement of discipline and creativity. He is the
co-founder, member and researcher of the Centro di Sonologia Computazi-
onale (CSC – University of Padova). He is a sound engineer, a live electron-
ics performer, a researcher on computer music and a pioneer in his eld.
Since the foundation of the CSC during the 1970s, Vidolin has worked
closely with many Italian composers including Claudio Ambrosini, Giorgio
Battistelli, Luciano Berio, Aldo Clementi, Wolfango Dalla Vecchia, Franco
Donatoni, Adriano Guarnieri, Luigi Nono and Salvatore Sciarrino. He has
assisted them during the creative process and has worked as a performer in
the rst and in subsequent performances of compositions. He has consist-
ently taken great care to document and preserve information pertaining to
his work, particularly with regard to the upgrading of technology.
Vidolin is what we call a computer music designer, one of the pioneers
of this profession. The term, increasingly used by members of the elec-
troacoustic music scene, implies a multitude of different functions in both
composition and performance. (Computer music designers are often called
musical assistants). On innumerable occasions and with hundreds of pub-
lications, Vidolin has contributed to the discussion of themes such as co-
operative creation, electroacoustic music notation, implications of musical
4 Alvise Vidolin interviewed by
Laura Zattra
The role of the computer music
designers in composition and
performance
Laura Zattra
84 Laura Zattra
mediation, preservation of electroacoustic music and (as a researcher and
sound engineer) the computing of sound and music.1
In 1980, he helped to found and later direct the Laboratorio permanente
per l’Informatica Musicale della Biennale (LIMB), an institution meant to
create a permanent and operational link between CSC and the Music Sector
of the Venice Biennale.2 Within this framework, Vidolin promoted research,
studies, workshops, publications, concerts and commissions for computer
music pieces.
In 1982, he was one of the organisers of the rst European edition of
ICMC (International Computer Music Conference) in Venice and was later
the curator of the exhibition Nuova Atlantide. Il Continente della Musica
Elettronica (Venice 1986) and co-editor of the homonym catalogue (Doati
and Vidolin 1986). The exhibit enabled visitors to experience types of elec-
troacoustic music that have been produced in different parts of the world
since 1900. The book grouped together a selection of essays as reference
points on the historical, technological and sociological electroacoustic mu-
sic scene. The second part of the book provided proles of centres and de-
scriptions of electroacoustic instruments, a bibliography and a discography
(Doati and Vidolin 1986).
As a musicologist and historian, one of the rst contributions made by
Vidolin in the area of electroacoustic music studies is a workshop titled
Music/Synthesis. Electronic Music, Electroacoustic Music, Computer Music,
followed by a short book with the same name published soon afterwards
(Vidolin 1977). This project marked the beginning of his decade-long col-
laboration with Venetian composer Luigi Nono (1924–90).
Vidolin describes himself as an ‘interpreter of electronic music instru-
ments’, meaning by that a professional capable of combining musical skills
with sonological and signal processing know-how. According to him, this
type of musical performer ‘not only “plays” during a concert but also de-
signs the performance environment for the piece, and acts as an interface
between the composer’s musical idea, and its transformation into sound’
(Vidolin 1997, 439).
The roles and competencies of these professionals have not yet been well
dened (see the previous chapter by the same author and Davies 2001, 2002),
because they ‘range from the players of synthesizers to signal processing
researchers, with many intermediate levels of specialization’ (Vidolin 1997,
440). Vidolin denes this professional as someone who ‘does not simply
translate a score into a sound, but transforms the composer’s abstract musi-
cal project into an operative fact, making use of digital technology and new
developments in the synthesis and signal processing’ (Vidolin 1997, 440; see
also Vidolin 1993).
Consequently, Vidolin distinguishes between the interpreter who works
with the composer in the studio and the interpreter who is a performer of
the composition in concert, i.e. the before and the after phases of musical
creation. These two dimensions of the computer music designer may either
Alvise Vidolin interviewed by Laura Zattra 85
co-exist within the same individual, as is the case with Vidolin, or in spe-
cialists in one domain or the other (Vidolin 1997, 441–43). Attempting to
understand this collaboration with a composer is challenging because the
interchange between two actors is typically hidden, unrecorded and in most
cases takes place orally.
The present chapter investigates Vidolin’s vision of the role of the com-
puter music designer through a study of his collaboration on two composi-
tions: Luigi Nono’s Prometeo. Tragedia dell’Ascolto (1981–84)3 and Salvatore
Sciarrino’s Perseo e Andromeda (1991). The chapter is based on a series of
interviews and discussions I had between 1998 and 2015, complemented by
research based on sources and archival documents. Knowledge of the col-
laboration can provide crucially important information about compositional
choices within the creative process, structural patterns and aesthetic solutions
within the completed work. Much of this information would remain unknown
to the analyst, who focuses primarily on the composer’s contribution.
Post-industrial fascinations and creative interpretation
The birth of a profession can rarely be determined. It starts when someone,
in the course of a spontaneous activity, decides to focus entirely on that
activity. This signies a change in identity and status of the practitioner.
Instead of simply being a skill for which one is paid, the activity becomes
part of a network of several people with similar skills. The key feature is the
emergence of professional autonomy. Once members of a rising profession
have acquired the experience and competence to judge the quality of similar
work performed by other individuals, then the basis for dening the profes-
sion has been achieved (Becker 2009, 10). A standard framework of tasks,
know-how and objectives is beginning to take shape in computer music: the
status of the computer music designer has to be seen in this context and is
currently at this stage (Zattra and Donin 2016).
Alvise Vidolin and I took these thoughts as our point of departure in
April 2013, in order to discuss whether this profession has reached a recog-
nised status or if it still is a spontaneous activity.
AV: I think my position, as is I guess is true for my colleagues, is some-
where in between an orchestra conductor ‘from a post-industrial world’,
and a musical interpreter. Conductors lead musicians, human-beings;
they have a crucial role in shaping, understanding and interpreting
the whole musical work, and it is their responsibility to create a per-
formance anew every night. Nowadays postindustrial conductors lead
automata. So I see myself as a designer of computer programs who
then ‘leads’ those programs, which brings along the aforementioned
responsibilities.
At the same time, I see myself as an interpreter, in terms of what
Joseph Joachim had been for Johannes Brahms or Roberto Fabbriciani,
86 Laura Zattra
Ciro Scarponi and Giancarlo Schiafni for Luigi Nono. I represent
both these roles, depending on whether I act before (or during) the com-
poser’s creative process or after the composer’s creative process.
However, it is unfortunately true that musicians – at least in the case
of Western music or avant-garde music – are still regarded as pure ex-
ecutors of the composer’s will, with a quite limited freedom, or bet-
ter, even in the most open works, with a ‘directed’ freedom (though of
course other forms of music making are much less bothered by this).
Musicians/interpreters like Joachim or Fabbriciani are not yet fully ap-
preciated; their completeness is not yet fully recognised.
(12 April 2013)
During the same interview, I asked if his profession is comparable with oth-
ers’ collaborations in the art world, such as lm production.
AV: If I consider these issues, surely I cannot compare them with cin-
ema. Cinema is more like acousmatic music: collaboration happens
‘before’, and the result is irrevocably xed. Projectionists cannot do
anything but get the projection started. The same is, or at least was,
true with acousmatic pieces: during concerts there was no or very little
interpretation.
But of course acousmatic music has evolved. Today acousmatic music
is beyond that: the interpreter has regained a crucial role and needs to
‘re-shape’ the room acoustics response at every concert. Many musical
‘scores’ give this possibility today (think, for example, to the French
school with the Acousmonium, or many electroacoustic music pieces
realized at Bourges, or many pieces by Annette Vande Gorne, to name
a few).
It is true that technicians from the rst analogue era of electroacous-
tic music (therefore acousmatic), like Marino Zuccheri at the Studio di
Fonologia della RAI in Milan, can be seen more as cinematographers
or directors of photography (as I also state in my article: Vidolin 2013).
These technicians had a crucial role to play, just as technicians did in
the lm production. However, acousmatic music was never acousmatic
stricto sensu!
I am very committed lately to an educational and historical opera-
tion, consisting in studying, reconstructing and playing some particular
works of musical theatre. Among them, there are many ‘acousmatic’
pieces by Luigi Nono. Some of them are completely acousmatic works
such as Ricorda cosa ti hanno fatto in Auschwitz (1966), but I’m working
also on acousmatic versions of pieces that were originally composed
for tape and soloists, for example, A oresta é jovem e cheja de vida
(1965–66).
I sort of ‘re-compose’ these pieces sonically at every concert, which
was Nono’s intention. In A oresta I use the original two quadraphonic
Alvise Vidolin interviewed by Laura Zattra 87
tapes, a tape for 8 channels (digitized version, and the multi-track re-
cordings that were made for the ofcial disc (the only version approved
by Nono), with the soloists playing their parts. My role now is to play
those pieces and perpetrate Nono’s compositional wishes. Again, it is a
question of ‘re-shaping’ this music, following Nono’s aesthetic logic, ac-
cording to [the acoustics of] every concert hall. The reason behind these
acousmatic renditions […] is that I want to make authentic renditions of
Nono’s pieces, with sound recordings of the original interpreters who
were strict collaborators and knew precisely how to play Nono’s music.
Mind you, it is not my intention to eliminate the original version of the
piece [A oresta] with real human performers (which moreover is still
what I do in other occasions), but to be open to new possibilities of
listening (a word so important for Luigi Nono) to historical acousmatic
documents.
In the end, if we want to nd an equivalent with other collaborations
in the art world, I think we should consider the world of industry, again.
Not the old-fashioned industry, with a boss of a factory and its work-
ers; I am thinking more of an up-to-date idea of industry, current com-
panies based on team work, where everyone works together to ensure
positive results.
(12 April 2013)4
How, then, is this collaboration being carried out in practice in such ‘crea-
tive factories’? (An electroacoustic music work can involve dozens of peo-
ple). Is there a protocol with rules or a consensus on how to behave? Are
there typical collaboration methods between composers and computer mu-
sic designers?
AV: In my experience, a great work of oral communication and plan-
ning is the key to a successful collaboration. In my work, I feel I have
two basic tasks: the rst is to understand the composer’s vision. This
is possible only through dialogue, empathy and even imagination: as
in any relationship, it is not always easy to decipher others’ mind and
intentions. Planning is the second important tool and the key to a pos-
itive experience. By planning, I mean taking the time to organize, re-
ect after meetings, submit my ideas, solutions, creations. After that,
I leave composers the time to evaluate and discuss again and again
every step of the creative process, in order to deliver on time some-
thing that really satises them, represents them, but still is something
I am happy about.
This also applies to my role of interpreter. Once the work is com-
pleted following those premises, I am in a position to perform the mu-
sical work in the correct way, or at least to try to reect the composer’s
intention. In practical terms, today online communication (written or
oral) is really useful. Before the Internet era, I used to meet composers,
88 Laura Zattra
call them by telephone, write them letters, sketches, notes and anything
else I needed to do to favour dialogue and cooperation.
(12 April 2013)
The computer music designer in the studio
In presenting Vidolin’s experience and practical activity, it is crucial to dif-
ferentiate between the so-called poietic and aesthetic sides of his work, i.e.
between creating electronics in collaboration with a composer and perform-
ing or reperforming a completed work.5 Vidolin calls the two sides of his
activity the before and the after.6
Vidolin’s (1997, 441) observation of the necessity of separating the roles
of the electroacoustic music ‘composer’ from that of the electroacoustic (or
electronic) ‘interpreter’ was noted as far back as the 1950s at the Cologne
Studio for electronic music. The young Gottfried Michael Koenig (who later
became a composer/researcher) had the task of transforming graphic scores
produced by invited composers into real electronic sounds generated via
analogue instruments. With the development of computer music, this ‘inter-
preter’ gradually became the computer music designer.7
Alvise Vidolin and Luigi Nono
According to Vidolin, the studio interpreter of the 1950–70s was in charge
of ‘bringing to light’ the composer’s embryonic technological ideas. One of
Vidolin’s rst collaborations was with Luigi Nono. They met in 1977 during
the organisation of the workshop Music/Synthesis. Electronic Music, Elec-
troacoustic Music, Computer Music.
AV: Nono had expressed his interest in getting to know me better and
possibly in collaborating. He wanted to study computer music and knew
I was collaborating with the University of Padova [at CSC] and this
could be the input for him to develop new musical research and ideas.
This was about the time that Luigi Nono was abandoning the Studio di
Fonologia della RAI di Milano, when the Studio was in decline. He was
eager to start new collaborations, with new performers and institutions.
He had the idea to start a laboratory in Venice with the Giorgio Cini
Foundation or in the music conservatory, but those projects remained
unfullled.
(27 July 1999)
After...sofferte onde serene… (1976, for piano and magnetic tape), he
realized that the Studio di Fonologia in Milan was insufcient for his
compositional needs. For the piece Con Luigi Dallapiccola (1979, for 6
percussionists and live electronics), Nono asked technician Giovanni
Belletti from Milan to build three-ring modulators in order to transform
Alvise Vidolin interviewed by Laura Zattra 89
some sounds. This was his rst attempt to work outside the Studio di
Fonologia.
(25 September 2015)
Nono was eagerly looking for new paths in his personal research in the late
1970s. He was trying to explore new ‘anti-academic’ sounds that only a het-
erogeneous circle of collaborators devoted to his work would give him; the
group included Vidolin.8 This research took place at the CSC and at the
Experimental Studio of the Heinrich-Strobel-Stiftung (hereafter the Strobel
Foundation) of the Südwestrundfunk (SWR) at Freiburg im Breisgau.9
After their rst meeting, Nono and Vidolin started collaborating on the
review Laboratorio Musica (1980–81), of which Nono was director, and on
several musical projects during the period known as ‘Verso Prometeo’ (ca.
1980–84, the years leading up to the rst performance of Prometeo. Trage-
dia dell’ascolto). Vidolin recalls that Nono ‘had a strong need to have new
ears’ and that therefore he was asked by the composer to experiment and
make him listen the technological possibilities; his presence was related to
the verication of sounds, the sound diffusion and spatialisation (De Pirro
1993, 13).
During the period called ‘Verso Prometeo’, Vidolin worked with Nono,
but only as an interpreter, on the production of Io, frammento dal Prome-
teo (1981), Quando stanno morendo. Diario polacco n. 2 (1982), Omaggio a
György Kurtág (1983–86) and Guai ai gelidi mostri (1983). These experiences
were very important for Vidolin’s developing career as a computer music
designer.
Meanwhile, they started developing the project Prometeo. CSC members
received visits from the composer, during which they discussed and made
him listen to their rst sounds experiments (27 July 1999). The following is
a description by Nono of how they initially organised their collaboration.
In an interview with Alessandro Tamburini, immediately following the rst
performance, Nono said: ‘rst of all, we agreed on the use of some type of
sound material I’ve been interested; they provided me with a sort of sound
catalogue, which has become a starting point; from here on out, we started
to do some tests and discuss’ (Nono, cited in Tamburini 1985, 11). Vidolin
was responsible for a small group of researchers, which included French
engineer/researcher Sylviane Sapir and Italian researcher/composer Mauro
Graziani. Nono made frequent trips from Venice (where he lived) to Padova
in order to experiment and comprehend real-time possibilities and synthesis
and conquered a ‘quite big place’ within the CSC studio (27 July 1999). On the
other hand, he was not fully satised with the computer programs CSC used
at that time (notably the MUSIC 5 software) because they worked in differed
time (25 September 2015). They therefore designed a real-time digital sound
processor, called 4i system, originally conceived at IRCAM in Paris by
Giuseppe Di Giugno, which was capable of synthesising sounds in realtime
(Azzolini and Sapir 1984; Debiasi 1984; Debiasietal.1984; DiGiugno 1984;
90 Laura Zattra
Sapir 1984; Sapir and Vidolin 1985). The sounds produced by the electronic
devices had to be adapted to the space of the original performance, which
was held in Chiesa di San Lorenzo, a disused church in Venice, during four
days in late September 1984. The performers (and also the audience) were
placed inside of a large and high wooden structure designed by the architect
Renzo Piano. The structure resembled an ark (i.e. a big unnished boat)
or the interior of a violin (performers were placed on balconies in three
levels). Thus, the work was performed in an unconventional concert space;
the church was almost lled with a new wooden structure. The sound would
rst resonate inside the wooden structure, then inside the church and would
ultimately circulate everywhere inside the space.
AV: After a few sessions, we started elaborating a few sounds. We also
made several trips to Venice. We used to walk in Venice districts, where
he made me listen to typical Venice sounds. I kept a diary of those meet-
ings. He made me listen to some sounds with glass bells. Someone had
built them for him. Sylviane [Sapir] used her knowledge on nonlinear
distortion to create the application Inter2.
(1 June 2009)
One of the rst musical paths was intended to create sounds for the sim-
ulation of breaths and blowing; these could be transformed from feeble
zephyrs into tornadoes, in constantly changing. But this instrument
turned out to be excessively automatic, not very musical.
(27 July 1999)
So we decided not to use it. Nono thought these sound structures were
too precomposed. Why use a precomposed structure when one has the
possibility to use the 4i system, a real time digital sound processor?
That was what he told us.
(1 June 2009)
We decided to investigate two main groups of sounds in the extreme
range of human hearing: bands of sinusoids in the very low range and
very high frequencies (this research on the most extreme band of fre-
quencies was part of his aesthetics, as one can heard in works such
as Como una ola de fuerza y luz (1972), or 1° Caminantes.....Ayacucho
(1987). We also designed sounds to evoke glass bell resonances, wind
instruments, far echoes.
(27 July 1999)
We synthesized those sounds, and then during his second visit to CSC,
we made him listen to those experiments.10 He was very happy with
them and decided to insert those sounds into the overall score.11 Those
sounds were supposed to integrate the sounds produced by acoustic
Alvise Vidolin interviewed by Laura Zattra 91
instruments, modify them and enlarge them. What we designed in the
end was a real-time synthesis environment that could synthesize a
unique sound developing in larger micro-intervals in the form of Nono’s
preferred chords, fth chords and tritones. Our 4i digital sound process-
ing system made those sounds that Freiburg live electronics instruments
were incapable of making (at that time). Our systems was engineered
to intervene in the Prologue (the opening of Prometeo) and in the Isole
(Islands), particularly in the rst Isola.
(27 July 1999)
We then created the computer application PEATA (from the name of a
boat!), based on the principle of Frequency Modulation.
(1 June 2009)
This was not a compositional system; it was more gestural environ-
ment (the performance gesture worked via potentiometers). Sound was
changed thanks to movements we made with our hands: we operated 6
potentiometers and other keys on the computer keyboard. The overall
sound effect sounded like a choir (24 ‘voices’ controlled in pitch, timbre,
and their micro-intervals).
(25 September 2015)
The performance environment for Prometeo was designed to guaran-
tee maximum liberty and to adapt in the most appropriate manner to
the sounds produced by instrumentalists and singers (Sapir and Vidolin
1985). In the Isola I, sound production used the principles of granular
synthesis.
AV: Granular synthesis was not meant to generate sound pointillism.
It was rather used to provide continuity to sound in constant evolution
(Nono’s famous concept of Suono Mobile-Mobile Sound).12 Grains –
each one was different from every other one – were seamlessly chain-
linked (you don’t perceive them as separate). We used 24 ‘voices’, and
they really evoked human voices, like a choir. The overall system was
based on frequency modulation, which means it was versatile and
open. So it might have generated other different resonances. Anyhow,
we used small indexes of frequency modulation, near the sinusoid, and
that provoked beats, which sounded like a choir singing in unison. We
also used fourth and minor seconds to simulate what the real choir
was doing.
(25 September 2015)13
We used the instrument PEATA for the Prologue and the Isola I. In
the 1984 Venice creation of Prometeo, Luigi Nono intended to evoke
the opening chord from Mahler’s First symphony. So the 4i real-time
92 Laura Zattra
processor could create an 116.5 Hz B-at, projected from the loud-
speaker under the wooden structure, then it would open up over seven
octaves and then transform into the sound of a distant chorus. PEATA
always proceeded in conjunction with strings parts (soloists) marked in
the score.
In Interludio 2, Nono’s desire was to create a ‘sonic silence’. This time,
we had to ‘play’ in conjunction with some glass percussion instruments
specically built for the occasion: this was the task with which Nono
had entrusted us (GLASS: in the score, they were 2 glass bells, with
sound transformed by the Freiburg Strobel Studio technology). The 4i
system interacted with glass instruments by generating sound synthesis
(and with the live electronics from Freiburg assistants) and was used in
the original performance in Chiesa di San Lorenzo, as well as in Milan
the year after.
(22 February 2011)
In his logbook, Alvise Vidolin took note of ideas (some of them aborted),
discussions, computer sketches and schemata.
AV: In my diary of the time, I’ve written ‘snaps’ [he shows me the page].
I remember Nono came one day to CSC. He told us he had just listened
to some ‘snaps’ while he were sailing in his motorboat: he was travel-
ling from Venice towards Padova. It was a window of the motorboat
banging in the wind. That sound fascinated him; it was rude, violent,
and noisy. He wanted us to synthesize some ‘snaps’. We did that, but in
the end, we did not use them in the Venice version, only in Milan (the
second version) in 1985.
(1 June 2009)
In that case, Vidolin and other musical assistants synthesised precise sounds
according to Nono’s specic requests. Among the tasks of the musical assis-
tant, like any luthier, programming open and versatile environments is one
of the more important. A computer music designer always tries to create
complex instruments (much like the makers of acoustic instruments), capa-
ble of adaptation to any musical and compositional situation.
The 4i system was an open system; that was its greatest feature. This
means that you did not have to program the machine each time for a
new musical work. I called this feature performance environment.
When Luigi Nono visited CSC, we had to be exible enough to change
immediately our system and results. We had to show him different pos-
sibilities in a short time, let him choose, rene the one he eventually
chose. We had to foresee what he liked and what he could not like, so
to speak.
(1 June 2009)
Alvise Vidolin interviewed by Laura Zattra 93
There were also difculties, or at least complexities, to overcome, especially
at the level of communication and language: the mind set of computer music
designers is different from the mind set and vision of composers.
AV: During this long phase of planning and realization of the techno-
logical system, the greatest difculty for me as a researcher (with Sylvi-
ane Sapir and Mauro Graziani) lay in the coordination between Nono’s
perfect knowledge of the architectural environment, our knowledge of
the problems related to the installation of the entire system in such a
place (the 4i system and the computer PDP 11–34), and our attempts
to imagine the hypothetical computer sound result. Ours, my previous
experience was at a lab, related to ‘musical research’ developed in a lab-
oratory. So it was such an enormous change and challenge for us.
Prometeo was a demanding musical work, long and complex, and our
technology had to be part of a bigger musical machine. It was not easy.
Prometeo was a signicant step for CSC toward greater musical/techno-
logical outcomes, for new solutions, new paths.
(27 July 1999)
Alvise Vidolin and Salvatore Sciarrino
The second, important collaboration for Alvise Vidolin, as a computer mu-
sic designer, is the one with Sicilian composer Salvatore Sciarrino. Vidolin
and Sciarrino met for the rst time in 1981 during Opera Prima workshop
at La Fenice Theatre in Venice. They have so far collaborated on Perseo
e Andromeda (1991), Nom des Airs (1994), Cantare con silenzio (1999) and
Lohengrin 2 (2004). In the next paragraphs, I shall concentrate on their rst
collaboration.
AV: My collaboration with Salvatore Sciarrino began as an unusual
collaboration. During the 1960s, Sciarrino had already realized an
electronic piece at the Studio di Fonologia della RAI di Milano, but
that was more a learning exercise. In the following years, he remained
quite uninterested with electronic technology. I think the reason was
that he could already produce such beautiful and almost ‘electronic’
sounds with his compositional ability applied to traditional musical in-
struments. Then, in 1989, he received an important commission from
the Stuttgart Theatre.
(27 July 1999)
Perseo e Andromeda is an unusual music theatre work (Zattra 2006b). The
overall background sound-space is made by digital synthesis. Sounds are
programmed by Computer Music Designers and diffused by live electronic
interpreters during concerts. However, if the soundscape were formed by
an imitation of real orchestral sounds, it would have been a completely
94 Laura Zattra
traditional opera, with four voices, ‘instrumental’ parts and conductor.
Instead, synthetic sounds are programmed to recreate the Island of An-
dromeda’s soundscape, according to Sciarrino’s musical rationale. Sound
synthesis in Perseo e Andromeda suggests winds, the sea, the seagulls, the
horizon, the pebbles, drops of water. ...
AV: Sciarrino is a unique and courageous composer who rows against
the mainstream. Digital synthesis was beginning to be substituted by
real-time techniques, at the time, and he decided on the contrary to
use only pure synthesis, as a sort of limitation, a constraint. This opera
is a traditional one, from a structural point of view, for 4 voices, but
he wanted to substitute the entire orchestra with a synthetic orchestra.
Synthetic sounds should not imitate real sounds. Digital synthesis at-
tracted him because it could give a totally new, different and suggestive
sound-scape to the Island.
(27 July 1999)
Sciarrino’s basic idea was to start from sounds to create the illusion of a
wave, and this was the essence of the piece.
AV: We basically used subtractive synthesis: white noise ltered through
a second order low-pass resonant lter, to create sounds that go from
almost sinusoid ltering to more complex sounds. We did not sample
natural sounds, which seamed the most obvious solution. That way it
would have been an example of musique concrète, and he did not want
that. He also did not want us to analyse and re-synthesize those sounds,
as a sort of imitation; it would have been a hyper-realistic work. What
he wanted was an extremely musical synthesis.
(27 July 1999)
Collaboration with Sciarrino was carried on in a totally different manner
from that with Nono.
AV: This was completely new for us (at CSC). We met with Sciarrino for
a long period of solfège (à la Pierre Schaeffer), a phase of familiariza-
tion at CSC with the machine. He had submitted his idea of suggesting
and recreating waves. So, starting from this, I made him listen to differ-
ent synthesized sounds.14 He listened and learned. All the solfège was
made with the 4i system because he wanted to learn understand, and
above all interact, change and vary any sounds he needed in the same
rehearsal session.
(25 September 2015)
He watched and listened to the series of different timbres that I could
synthesize with the 4i. He wanted to be completely familiar with the
Alvise Vidolin interviewed by Laura Zattra 95
‘new orchestra’. Only after that process did he feel condent to ‘com-
pose’ for the new orchestra, with total independence. He became re-
ally competent in the knowledge of the machine and would decide on a
symbol for every sound we could synthesize. This was his personal way
of notating different timbres. So he was able to foresee everything he
needed.
He wrote the complete score once he got home. That was amazing.
It was a graphical score, with the voices and the synthetic part, with a
quantitative description of the lter resonances, dynamic ranges and
spatialization.
This is very rare. He was not the type of composer with an intuition,
to whom we have to adapt in order to translate his idea in a language for
the machine and proceed with several steps of adjustments. He wanted
to learn and become completely condent with our instrumentarium.
(27 July 1999)
Once he came back with the complete graphical score, it was our turn
to make things possible. This was the second phase of our collabora-
tion, and I worked in collaboration with Paolo Zavagna. Sciarrino had
planned to use a large number of voices (which means a complex po-
lyphony of waves, of synthetic sounds). We agreed that we could not
synthesize all sounds in real time; technology at the time was not ad-
vanced enough (there was no commercial synthesizer capable of synthe-
sizing the entire synthetic part).
I made an instrument with MUSIC 5 software15 in order to create
most of the sounds, starting from an instrument that I had previously
created for the 4i digital sound processing. MUSIC 5 permitted the syn-
thesis of the same type of timbres. But it was not equal to 4i and did not
have the same ‘logic’. We had to simulate with MUSIC 5 what we had
made with the 4i. It was quite a struggle. We had to program a lter
‘from scratch’, so to say. During concerts, we used a play-list of those
MUSIC 5 pre-calculated synthesized parts.
We kept the 4i for those parts whose duration was not foreseeable.
There were parts in the score the conductor could lengthen or shorten,
following his sensibility, dramaturgy or on-stage movements.
(25 September 2015)
The computer music designer as a performer of live
electronicmusic
According to Vidolin, in performance the computer music designer ‘must
realize the processing system and plan the performance environment’ for
the concert situation (1997, 442). Sound and space are the two dimensions at
stake. Accordingly, it is clear that a large part of this work commences at an
earlier stage, during the studio activity.
96 Laura Zattra
AV: Actually, the interpreter’s work begins during the studio work, be-
cause planning is quite central. After all, during concerts the live elec-
tronic interpreter ‘just’ makes sure that technology works properly,
meaning the overall complex system of algorithms, patches, dynamic
levels, spatial projection, etc.
(12 April 2013)16
Alvise Vidolin and Luigi Nono
With Nono, Vidolin started as a live electronic musician; he was not in-
volved in the compositional process but collaborated in the performance
phase of many pieces. Through this experience, he became acquainted with
Nono’s artistic world.
AV: My rst work with Nono was Io, frammento dal Prometeo (1981). We
made the rst performance at Venice La Biennale (in the sports hall).
The whole time he told me to ‘listen’ (‘Ascolta!’, is the motto used by
Luigi Nono during the 1980s). He wanted me to listen to the space of the
sports hall and to report what I heard, because he could not be in all the
corners of the place at the same time.
Then we made Quando stanno morendo. Diario polacco n. 2 (1982), in
which the whole central part is made up of delays. I worked with him on
Omaggio a György Kurtág (1983–86). The rst performance was a sort
of improvisation at the Maggio Musicale Fiorentino (10 June 1983) with
Hans-Peter Haller from the Strobel Foundation and me explaining to
Nono the theoretical principles involved in the piece. I assisted the rst
performance of Guai ai gelidi mostri (in Cologne, 23 October 1983) and
helped him in the choice of harmonizers.
Quando stanno morendo. Diario polacco n. 2, was a remarkable expe-
rience, at the San Rocco School room. Luigi Nono came to me and said:
‘you’ll perform the delays’, even if that was the rst time I saw the score
(he had just nished writing). But we had already spoken and discussed
in depth at the Strobel Foundation his expectations of the live electronics
technology. So, even if I had not participated in the compositional phase,
I knew his compositional aesthetic. In this piece, the live electronic part
must pick up sounds from the acoustic instruments and multiply them with
delays (2 seconds for the ute and 5 seconds for the cello). This produced
an accumulation of sounds. I hesitated at rst […]. But slowly I started to
feel condent and allowed the system to reinforce the sounds. I looked at
him trying to receive some feedback, and he waived his hand again and
again. I began to feel like transported from the sound towards the maxi-
mum climax of the piece, with sounds circulating all over the room at full
volume. Without knowing, I had caught Nono’s vision; he was very happy,
and the tension preceding each rehearsal vanished all of a sudden.
(25 September 2015)17
Alvise Vidolin interviewed by Laura Zattra 97
Prometeo by Luigi Nono was the rst real complex collaboration between
Nono and Vidolin, during both the compositional phase and the perfor-
mance. Real-time sounds produced with CSC’s technology had to t with
live electronics transformation realised at the Heinrich Strobel Stiftung Ex-
perimental Studio SWF, Freiburg (Haller 1985).
AV: When working on Prometeo during the compositional/research
process, we decided to leave the performance environment open, so that
we could test it and adapt it during the one-month period of rehearsal
in Venice, in San Lorenzo church (1984). We had a series of difculties,
not the least of which was that we were worried that the humidity in
San Lorenzo was very high and there were sudden drastic temperature
changes. That was not good for our computers. Other difculties were
related to live electronic interactions with singers and performers. We
must of course not forget that Prometeo, as many other pieces by Nono,
was a work in progress. Nono made different versions at every concert.
We had to adapt to this uidity and make changes very quickly.
(27 July 1999)
Alvise Vidolin and Salvatore Sciarrino
Perseo e Andromeda by Sciarrino was performed using the 4i system on
January 1990 at the Staattheater in Stuttgart, Germany. From the second
performance on, the 4i system was substituted with another digital worksta-
tion known as the Musical Audio Research Station (MARS) designed at the
Istituto di Ricerca per l’Industria dello Spettacolo (IRIS). It is important to
note that Sylviane Sapir had a crucial role in the development of both the 4i
system and the MARS workstation.
AV: In Perseo e Andromeda, we could have recorded the entire synthetic
part on tape and just reproduce it during concerts. But we were not in-
terested in this ‘simplicity’. Moreover, this type of solution would have
resulted in a rigid and even dangerous performance for the singers. On
the other hand, we could not synthesize completely in real time, be-
cause no such technological equipment permitted that. So we decided
on a batch system and used a general purpose signal processor (the 4i
and later the MARS system). In the end, we used 4 computers: the 4i
system (and afterwards the MARS) and two computers with play-list
(with MUSIC 5 pre-synthesized parts); a fourth computer was used for
the spatialization.
(12 April 2013)
This system was played via a gestural control, connected with two personal
computers: each sound was triggered by independent playlist of precalcu-
lated audio les (Provaglio et al. 1991; Vidolin 1991; 1997, 456).
98 Laura Zattra
AV: Spatialization in Perseo e Andromeda was also very interesting. Sci-
arrino wanted a precise ambience. Sounds should pass over the heads
of the listener or completely encircle the listener. What is noteworthy is
that he notated all those movements on the score. However, movements
were so numerous that we had to use another computer completely ded-
icated to this task.
(12 April 2013)18
It also important to note that Vidolin and Sciarrino decided to publish the
complete computer synthesis of the opera. The Ricordi score is in fact an
excellent example of the preservation; it presents the complete distribution
of material used for the creation of the piece (Sciarrino 1992). The edition
(214 pages) includes the traditional score for four voices along with tape, as
well as the complete computer score made using MUSIC 5.
The synthetic sounds have been written in traditional notation by indicat-
ing the approximate intonation of objects made with white ltered noise. This
was based on Sciarrino’s diagrams made after his period of study at the CSC.
It was he who noted every parameters of lter. This kind of publication en-
sures the conservation of data, which is nalised not only for future perfor-
mances of the work using new software, but also for possible analytical work.
Conclusions
Alvise Vidolin’s experience sheds light on the emergence of the computer
music designer. He was the rst to articulate the roles and responsibilities
of this professional musician in both the compositional and performance
phases of the creative process. Vidolin has always taken good care to pre-
serve and transmit his work. His numerous articles and workshops dedicated
to Nono and his music and his contribution to the edition of the Sciarrino’s
Perseo e Andromeda score are two examples.
As a performer, he suggests that computer music designers must carefully
consider the succession of several performance environments during a concert:
This must be taken into account when choosing the equipment and
when planning the environments. For example, the transition from one
environment to another must be instantaneous and should not cause
any disturbance, and the performer controls must be organized in such
a way that the change is reduced to a minimum.
(Vidolin 1997, 444)
According to him, the training of a computer music designer demands a
high degree of personal engagement and must be rigorous.
Learning cannot be by intuition or imitation, as is the usual practice. The
interpreter must, instead, develop a learning capacity based on the analyt-
ical nature of the technologies and signal processing techniques and must
Alvise Vidolin interviewed by Laura Zattra 99
be able to pass rapidly from a variety of situations and congurations to
others that are very different, which may also occur even in a single piece.
(Vidolin 1997, 445)
Performing abilities must match technological and analytical capabili-
ties. Furthermore, the computer music designer must remain alert to the
operational differences between studio and the live performance contexts
(Vidolin 1996, 447). To that end, he has drawn up ve tables that relate
sound-processing techniques (with operational information) to perceptual
and performative results, with detailed suggestions for performers (Vidolin
1997, 446–49). At the time (1997) the diagrams could have been seen as a
kind of ‘basic training’ for computer music designers, and to this day the
tables remain valuable information for scholars interested in digital music
at the turn of the century.
This emerging profession must also take into account the problem of ob-
solescence. ‘Performance environments, unlike musical scores, are subject
to periodic changes in that many devices become obsolete and must be re-
placed by new equipment that is conceptually similar to the previous system
but which is operated differently’ (Vidolin 1997, 445). Computer music de-
signers should therefore be active writers, not only to x and keep track of
their work in papers, interviews and essays, but more importantly to provide
records of procedures and outcomes as technology continues to migrate.
Alvise Vidolin interviewed by Laura Zattra
• 27 July 1999, CSC in Padova Italy (transcribed in L. Zattra, Da Teresa
Rampazzi al Centro di Sonologia Computazionale (CSC), Master’s De-
gree, Università degli studi di Padova, 2000, 137–43).
• 1 June 2009, his home, Padova.
• 22 February 2011, Conservatorio Cesare Pollini, Padova.
• 12 April 2013, CSC-Sound and Music Computing Group, Department
of Information Engineering, Università degli studi di Padova.
• 25 September 2015, via Skype.
Notes
1 For an annotated bibliography of Vidolin’s writings from 1975 up to 2008, see
Zattra (2009).
2 Strongly supported by Mario Messinis, director of the Music Sector of the Venice
Biennale at the time, the LIMB, headed by Alvise Vidolin and from 1983 co-led by
Roberto Doati, has operates for six years from 1980 to 1986, with other scattered
activities in 1989 (concerts and workshops with Sylvano Bussotti and Walter Prati),
1993 (workshop on the musical praxis of Luigi Nono) and 1995 (concerts ‘L'ora di là
dal tempo’ at the 46th Art Exibition for the 100th anniversary of the Biennale).
3 Tragedia dell’ascolto means ‘the tragedy of listening’ and refers to the Greek
notion of tragedy, the fate of Prometheous, as well as the small ame of faith of
learning and listening Nono believed in. Ascolta! (Listen!) is the ultimate and
only hope for understanding.
100 Laura Zattra
4 In April 2015 Vidolin and musicologist Veniero Rizzardi presented the complete
rendition of Luigi Nono’s pieces realised at the Studio di Fonologia della RAI
di Milano during the 1960s, in collaboration with the centre of musical research
Angelica in Bologna www.aaa-angelica.com/aaa/angelica-progetto-nono. The
aesthetical and historical research of Nono’s works made by Rizzardi and
Vidolin began in 2011 with the performance of A oresta é jovem e cheja de vida
(19666) for the 55th Edition of the Festival Internazionale di Musica Contempo-
ranea of the Venice Biennale.
5 The concepts of the poietic and aesthetic sides of the work are borrowed from the
well-known musical semiology developed by Nattiez (1975).
6 Plessas and Boutard (2015) have recently dened the computer music designer
as the person who assists in the compositional process and the live electron-
ics musician as the person who assists with the performance of the completed
composition.
7 Indeed, the very name of this emerging profession is far from settled. IRCAM
in Paris is the rst institution to reect on both its specic function and naming
(Zattra 2013).
8 This group started forming in the late 1970s and consisted of numerous musi-
cians (Roberto Fabbriciani, ute; Ciro Scarponi, clarinet; Giancarlo Schiafni,
tuba; Susanne Otto, contralto; among others), technicians (Bernd Noll, Andreas
Breitscheid) and sound engineers (Hans Peter Haller, Rudolf Strauss and Alvise
Vidolin) (Zattra et al., 2011).
9 Vidolin and historical documents prove the fact that Nono had visited John
Chowning at the Center for Computer Research in Music and Acoustics in Stan-
ford and had met Charles Dodge; he liked what computer music offered, as well
as its innite possibilities, and contemplated a period of study at CCRMA. In
the end, he decided to go to Freiburg Studio instead, for he could work there
with delay too, with live electronics techniques and new sounds. (1 June 2009;
Nono 1987c, 550).
10 Archivio Luigi Nono in Venice preserves several tapes (now digitised) with those
audio sketches.
11 I have looked at two handwritten scores of Prometeo for this research. The rst
is held at Archivio Luigi Nono in Venice; it shows the part of the 4i sounds at
the bottom of the score, but ‘the pentagram’ is void (this is the score of the 1985
version, Milan). The second is held at the Archivio Storico delle Arti Contempo-
ranee (ASAC) in Venice; it shows some details about the using of 4i, but it is also
incomplete. I intend to undertake further research at the Paul Sacher Foundation
in Basel, where another handwritten score is preserved. I hope this will allow me
to get more information on the use of the real-time digital-sound processor.
12 For more on this, see articles by Vidolin (1992) and Cecchinato (1998).
13 Similar concepts are evoked in Vidolin (1997, 454).
14 Usually, computer music centres show composers the state of musical research
and what computer technology is capable of, before starting the real creative
process. Sciarrino went to the CSC with a very precise compositional concept,
and the creative process started there.
15 MUSIC 5 was a program developed by Max Mathews at Bell Telephone Labora-
tories in the early 1960s. CSC had a copy of the program and made a personal-
ised version.
16 The same concepts are echoed in Vidolin (1997, 442).
17 Vidolin narrated the same story in a brief but very informative article (Vidolin
2002).
18 The same concepts are echoed in Vidolin (1997, 456).
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