Silvia Lanzalone

Il presente articolo descrive il lavoro svolto per la composizione di Clavecin électrique, per clavicembalo ed elettronica (2011).
Il brano è stato prodotto attraverso un percorso di sperimentazione sulle possibilità acustiche e tecniche dello strumento svolto con l'aiuto del clavicembalista Giorgio Spolverini e comprende un'installazione di tubi
risonanti ad esso integrata. Clavecin électrique è il primo prototipo di un progetto di più ampio respiro rivolto alla realizzazione di un
clavicembalo con caratteristiche 'aumentate'

Il presente scritto descrive alcune caratteristiche tecniche,
linguistiche ed espressive di tre installazioni d’arte
elettroacustica da me realizzate, presentando così i risultati di
una ricerca artistica “in itinere” il cui principio estetico
comune fa proprio il concetto di intermedialità.
Il suono incausato, improvvisa-azione per clarinetto sospeso
clarinettista ed elettronica (2005), Voce, per piccolo coro di
vetro, voce femminile ed elettronica (2006) e Risonanze dalla
Terra, sculture sonore in terracotta, canapa e suoni elettronici
(2007), sono lavori di arte elettroacustica in cui il mezzo
tecnologico, anziché sovrapporsi al suono naturale per
trasformarlo con artifici algoritmici, prende parte all’intera
struttura fisico-acustica di un nuovo “strumento”, concepito e
progettato insieme alla composizione musicale in modo da
dare vita ogni volta ad uno specifico ed autonomo oggetto
d’arte, sonora e plastica insieme.

"Il suono incausato", improvise-action for suspended clarinet, clarinettist and electronics (2005) by Silvia Lanzalone, is a musical piece which proposes an innovative way of using the traditional instrument and adding technology to the music production by creating an unique sound installation for the clarinet. The title – the uncaused sound – instead suggests the generating idea from which the author has developed the musical piece and its related aesthetic choices. The subtitle – improvise-action for suspended clarinet, clarinettist and electronics – gives the listener some hints which anticipate important characteristics: the extempore component joined to a gestural approach of the performance; the modality through which the clarinet is put on the stage as well as the discontinuity between the instrument and the performer; the display of electronic devices.
"Il suono incausato" has been played in several festivals of contemporary music; it was awarded with the  Franco Evangelisti (2006) prize, and it is published by the editor Suvini Zerboni.

This paper describes the real time environment use for the performance of Post-Prae-Ludium per Donau, for tuba and live electronics by the composer Luigi Nono. The work, premiered in 1987 with the collaboration of the "Experimentalstudio" of Freiburg, achieves direct interaction between tuba and live electronic performer.
The project include seeral kinds of sound processing techniques for the elaboration and spatialisation of th sound of the tuba, such as delay lines, phasing and reverberation. This algorithm was implemented with Max-MSP for the performance that took place in June 2005 in Rome at the "università degli Studi di Roma Tor Vergata" in collaboration with the "Conservatorio di Musica Santa Cecilia" of Rome.
A description of the algorithm, modules and gestural interactions involved is given here in detail.

In his work "Contropasso" (1998-9) Michelangelo Lupone collaborates with Massimo Moricone in the dance showcase "piegapiaga" achieving direct interaction between dancers  and live electronics performance. The choreography takes advantage of acoustic events as generated by three dancers  and further elaborated on via computer by the composer through use of granular algorithms and digital filtering, allowing the construction of the musical events to occur in real time. The live electronics  performer changes sound parameters in relation to the dancers' movements by use of the program SDP-Sonorous  Drawing Piane (S. Lanzalone), created specifically for the control of different synthesis algorithms allowing them to be processed on systems such as Fly30 (CRM) and Mars (IRIS). SDP reads and converts computer mouse data as the operator creates lines corresponding to performance gestures, thus creating both visible and audible output. This software allows a single gestore to control more than one parameter, thus creating complex changes in the audio programme output. The artide deals with different compositions, performances and didactic situations  the author  has experienced using SDP.