The Museum of Contemporary Art Zagreb


Ex per mus – festival of experimental music 2

Museum of Contemporary Art ,Gorgona hall
October 11th- 12th at 8 p.m.
Free entrance!
Author of the programme: Zrinka Lazarin

Exploration of the possibilitiesof new musical interfaces and design of new musical instruments create new platforms for musical performance, and provide an entirely new musical experience, both for the artist and the audience.
Interactivity that permeates the entire audiovisual process is a result of a new way of looking at the interaction of gesture and sound, thereby redefining the position of artists and creators and questioning the limits of performativity.
Three outstanding experts: David Pirrò, Frédéric Bevilacqua and Norbert Schnell will show ushow new technologies affect our sonic experience, how gesture and sound create a new way of musical expression, a new conceptual semantics of the musical performance, a new kind of aesthetics.

October 11th, 8 p.m.


Interaction Composing - Designing Enactive Environments with Physical

Interactivity has become a keyword in Computermusic. In different
contexts, such as Live-Electronics compositions or sound
installations, it is unavoidable for composers to think about how
interactive possibilities should be provided to performers or
audience. Motion tracking technologies offer researchers and composers
the possibility to develop and to experiment with different strategies
in designing interaction.

This lecture will give an overview of research projects that have been
recently pursued in the field of interaction design at the Institute
of Electronic Music and Acoustics in Graz. Further, I will present an
approach I have been developing in the course of my PhD thesis: the
employment of physical models for composing interactive environments
that would allow computermusic performers to enact and embody, rather
than merely control, sound synthesis and spatialisation
algorithms. The qualities of this particular approach will be
presented, exemplified and discussed.

David Pirrò (*1978 Udine, Italy), studied piano at the Conservatory
and physics at the University of Trieste. In 2004 he obtained the
Master degree in Theoretical Physics. He worked at the CSC (Center
for Computational Sonology) in Padua. In 2007 David concluded his
studies at the Conservatory in Trieste with a Master in Computer
Music and audio-visual composition. Working together with
Prof. Paolo Pachini he realised and performed diverse audio-visual
and electroacoustic compositions.

Since 2007 David works at the IEM (Institute of Electronic Music
and Acoustics) in Graz, Austria as a researcher and lecturer. He is
currently working with Prof. Gerhard Eckel on his dissertation on
interaction design in the context of Computer Music.

His artistic works include interactive compositions and sound
installations as well as audiovisual and electroacoustic
pieces. Central themes in his works are the performative aspects in
computer music and spatial sound composition.

October, 12th 8 p.m.


Frédéric Bevilacqua and Norbert Schnell

Motion, Sound, Interactions

The recent availability of both, affordable motion capture technology and mobile platforms, allows for creating a new generation of musical instruments and interactive audio applications. These systems are currently redefining the boundaries between music listening and music performance. On one hand, new devices and applications, enable music listening as an active participation in musical interpretation and composition. On the other hand, new digital musical instruments integrate notions of perception, generativity, and collaboration, questioning the performance practices and functions of traditional instruments.

In this context, the design of novel instruments and interactive audio applications becomes the exploration of vast possibilities to create relationships between body, actions, physical objects and sound/music. The design of such application can rely on either on existing musical concepts or "extra-musical" metaphors.

The musical interaction scenarios and playing techniques that we have developed over the past years make use of several different types of interfaces from specifically designed interfaces, everyday objects, to mobile/gaming interfaces. Several metaphors and actions were also explored, from free gestures created by listening to sound to existing actions inspired from sports. Our presentation will include numerous examples, such as the MO (Modular Musical Objects) and Urban Musical Game, as well as our most recent developments, featuring playful collaborative interaction scenarios.

Frederic Bevilacqua is the head of the Real Time Musical Interactions team at IRCAM - Institute for Music/Acoustic Research and Coordination in Paris. His research concerns the understanding of the interaction between gestures and sound processes, and the development of gesture-based musical interaction systems. He holds a master degree in physics and a Ph.D. in Biomedical Optics from theSwiss Federal Institute of Technology in Lausanne). He also studied music at the Berklee College of Music in Boston and has participated in different music and media arts projects. From 1999 to 2003 he was a researcher at the University of California Irvine. He joined IRCAM in October 2003 to develop gesture analysis tools for music and performing arts.

Norbert Schnell is a researcher and developer at the Real-Time Musical Interactions team at IRCAM focussing on real-time digital audio processing techniques for interactive music applications. He studied Telecommunications and Music in Graz/Austria and worked as programmer and sound designer with the Musiklabor Wien. At IRCAM he initiated and participated in numerous international research and development projects as well as artistic works in the field of interactive audio-visual installations, music pedagogy, and sound simulation. He chaired the 6th International Conference on New Interfaces for Musical Expression (NIME) in 2006 and held the DAAD Edgard Varèse Guest Professorship for Electronic Music at the Technische Universität Berlin in 2007. His current research focuses on the animation of digitized sounds and their reenactment by playful scenarios in the design of interactive audio applications.

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