This seminar is directed toward composers, performers, and interpreters of electronic music, and to sound engineers eager to deepen their understanding of the theoretical elements, techniques, and creative abilities related to the realisation of live electronic concerts. The on-line lessons will prepare participants for the in-person seminar and will take place from 10.00-13.00 / 15.00-18.00 on the following days: June 11, 18, 25; and July 2, 9 & 16.

It is possible to attend the seminar as an auditor. A limited number of auditors will be accepted.

The seminar will be divided into daily individual lessons alternating with collective/individual workshop meetings.

COMPOSITION TRACK
By the first day of the online lessons (June 11), active students are required to present scores (or the draft of a score) of an original composition with live electronics for a soloist or small ensemble (voice, clarinet, cello, or double bass), the electronics portion of which will be realized during the course and performed in concert (August 3rd) by a student of the Accademia Chigiana.

Lessons on theory will deepen the student’s knowledge of the following topics:

– the temporal eco-sustainability of musical works with electronic parts

– the choice of technological equipment suitable for sustainability

– the adaptation of past works made with technologies that are no longer available

– the various semiographic notations useful for the reading, interpretation and reconstruction of electronic parts

– the use of scripting and automation systems for the systematic creation of highly complex electronic scores

These topics present challenging aspects that are still open to emerging research and will be addressed by highlighting the research and investigating the know-how and components necessary for in-depth realizations of past and future works.

PREPARATORY LESSONS ONLINE
In the on-line preparatory lessons the works with electronic parts to be performed in the aforementioned concerts will be analyzed and the executive environments will be planned. 

IN PERSON SEMINAR
The practical lessons provide for the active participation of students in the performance of the electronic parts of the compositions listed below that will be performed within the concerts of the Chigiana International Festival & Summer Academy 2021:

AA.VV. Cadavre Exquis
CRUMB George (1929) George Black Angels (1971) for electric string quartet
GUARNIERI Adriano (1947) Ostinato 6, per 3 pianoforti e live electronics
JANACEK Leoš (1854-1928) Quartetto n. 1 (1923) for string quartet [18:00]
LETORT Bruno (1963) Armilla, Mysterious undergrond city located at North Obscure Pole (prima assoluta)
SCIARRINO Salvatore (1947) La navigazione notturna, per 4 pianoforti (eventuale spazializzazione)
REICH Steve (1936)

• City Life (1995), 2 flutes, 2 oboes, 2 clarinets, 2 vibraphones, unpitched percussion, 2 samplers, 2 pianos, string quartet, and double bass, [24:00]. All instruments except the unpitched percussion are to be amplified.
• Radio Rewrite (2012, clarinet, flute, two violins, viola, cello, two vibraphones, two pianos and electric bass; 5 movimenti, [19:00]
• Different Trains (1988) for string quartet and tape
• Cello Counterpoint (2003), cello and pre-recordered tape, [11:00]
• It’s Gonna Rain (1965), fixed media [17:50]
• Phase Patterns (1970) for four electric organs
• Come Out (1966), fixed media [13:07]
• Four Organs (1970) for four electric organs and maracas

In the workshops the challenges of recording, processing and spatialisation of live sounds will be faced in simulated form, and as a function of documentation work to be carried out in post-production. 

Through the preparation, rehearsals, and the performances of the pieces with electronics listed above, different playing techniques will be studied, using the SaMPL electroacoustic system based on d & b audiotechnik amplification, Yamaha DM1000 digital mixer and multi-channel spatialization in octophony.

Interested students should apply by May 31st, 2021.

The Accademia Chigiana will communicate to all candidates the result of the selection made by the examining commission.

COMPOSITION TRACK
For the entrance exam, candidates must present the scores of two recent compositions with parts for electronic music.

The scores must be received by the Accademia Chigiana along with the Application Form and the application and examination fee no later than 31 May. 

PERFORMANCE TRACK
For the entrance exam, candidates must present the technical-performance plans for two pieces from the repertoire for voice or instrument or ensemble and live electronics by a well-known author, to be chosen by each candidate.

The technical-performance plans must be finalized for performance in a hall of roughly 250 seats and approximate dimensions of m. 50 x 10 x 5(h), with live electronics preferably to be performed by a single person.

To perform the work, the candidate may make use, as necessary, of components from the following audio system: 

• 9 independent amplification channels with 9 full-range loudspeakers positioned on the boom at variable height and orientation;
• 1 subwoofer speaker positioned on the ground with independent amplification channel;
• wide variety of dynamic condenser, proximity, radio, microphones with rods and various supports;
• 1 analog or digital mixer of the candidate’s choice;
• 1 reverb generator of the candidate’s choice;
• 1 personal computer with multichannel audio interface and MIDI controller of the candidate’s choice, software chosen by the candidate (preferred: Max / MSP, PD, Supercollider, Csound, or Faust, which may also be interconnected with each other)
• power supply, audio and power cables, technician for installation support.

 The plan must include:

• data sheet;
• diagram of the connections between the various devices and their location in the Hall and/or in neighboring environments;
• detailed configuration of the mixer (inputs/outputs, internal programming);
• performance environment created by the computer using the chosen software;
• text describing the actions that the performer must perform during the performance, possibly accompanied by additional instructions inserted in the score.