Ascolto in tuo cuore città: Audio testimonianze al tempo del COVID-19

Video Virtual PosterInternational audienceNel COVID-19 lockdown ho raccolto un corpus di registrazioni: soundwalks del mio quartiere e soundscapes dal mio terrazzo. San Salvario, quartiere centralissimo di Torino, include la stazione di Porta Nuova, il Parco del Valentino e il fiume Po. Il mio terrazzo è al primo piano di un perimetro chiuso, molto ampio, di edifici di diverse epoche: palazzi degli anni ‘50, case di ringhiera, ballatoi e un Collegio Universitario: un teatro sonoro assai vivace. Nelle prime fasi (10 marzo-15 giugno) ho registrato quotidianamente 108 audio; dalla fase III a oggi, 8 ottobre, ho registrato con cadenza rallentata, arrivando a 135 capitoli per circa 85 ore di audio stereo e 20 ore di audio quadrifonico. 135 è l’opus dell’ultima grande composizione di un compositore ormai sordo: il mio riverente omaggio con un progetto intitolato all’ascolto. Otto ottobre, mio birthday, è segno – autoreferenziale – di rinascita. Ho utilizzato (24 bit, 48 kHz) Tascam DR100-MKIII e Zoom H2n: le soundwalks sono state registrate con microfoni binaurali (Soundman OKMII e Roland CS-10M), i soundscapes con i microfoni interni dei registratori. Tutti i file audio sono caricati al sito “Corona specific” https://aporee.org/maps/work/projects.php?project=corona, con una scheda descrittiva e i files delle tracce geotrack (kmz, gpx) che descrivono il percorso

The voices of the desert. Tissardmine 2020

Giuseppe Gavazza, recently associated with Cresson as a researcher, was to present his work at the "AG" Cresson in March 2020. He had just returned from an artistic residency in the Moroccan Sahara, an immersion in the desert carried out in January 2020. He had planned to present the video which will follow. He could not come and finally we cancelled the "AG" in our turn. G Gavazza, presents us his residence and the links he is now forging between desert experience and confinement. The cont..

Three Avant-Garde Masterpieces: Atmosphe res, Aura, Stimmung. Can Music Suggest an Original Interpretation of These Themes?

International audienceThinking about the predictable in-presence 4th International Congress on Ambiances 2020 I wrote: “I will propose to the listener some significant fragments of these three compositions to trigger a discussion that will focus on the core of my intervention: single-word titles that have implications that reach far beyond mere musical fact. My question will be: ‘Can music offer an original interpretation of these themes suggesting new research perspectives?’” An unpredictable situation forces to rearrange the sequence: the proceedings will precede the other actions. My question remains and, since I am a composer, I feel comfortable purposing this text as the draft of a score. A score is an imagined memory of a musical event to come. I propose here a two steps participative process: a de-composition and a re-composition

physical modeling as a tool for musical formalisation

La synthèse pour par modèles physiques propose une approche à de la création musicale alternative à de celui celle plus habituelle du traitement du signal. En prenant en considération le phénomène musical comme un unicum émergeant de l'interaction entre le musicien et les instruments à sa disposition, on expérimente et donne corps phénoménologique et sensible aux actions créatrices.En ne considérant pas comme entités distinctes la matière sonore et la structure musicale, on oriente les potentialités de l'ordinateur et crée une dialectique originale et féconde entre le formel (structurel) et le perceptif (cognitif).Le champ d'action envisagé dans cette thèse concerne le développement, la formalisation et la catégorisation des modèles physiques réalisés à l’aide du formalisme CORDIS-ANIMA de structures - créées par modélisation physique - utiles pour la composition musicale, dans la perspective de mettre en évidence la fonction de formalisation musicale associée portée au par ce paradigme. de simulation par modèle physique CORDIS-ANIMA.Le point de départ est ma pratique personnelle de près de 20 années, en tant que compositeur, avec le logiciel de création sonore GENESIS du laboratoire ACROE-ICA. Cette pratique, à travers des travaux à la fois scientifiques (en modélisation) et artistiques (en composition musicale), m'a conduit à considérer cet environnement non pas comme un synthétiseur, mais comme un instrument " organique " permettant de créer une composition musicale complète couvrant les trois échelles de catégorisation usuelle de l'acoustique et de la musique : micro-formelle (le timbre, l'harmonie, l'orchestration), mezzo-formelle (le rythme, la mélodie et les séquences / structures harmoniques de premier niveau) et macro-formelle (la structure harmonique de niveau supérieur, le schéma formel de la composition complète).L'objectif ne consiste pas à proposer le cadre d'une "nouvelle musique" ou d'une nouvelle esthétique, mais à "bien tempérer" les instruments pour une nouvelle pratique de la création musicale explorant et exploitant au mieux les potentialités de l'ordinateur et des technologies numériques, aussi dans la direction d'un élargissement de la dialectique instrumentalité - écriture musicale vers une "supra instrumentalité" [Cadoz6] et vers des perspectives "post-scriptiques" de la création musicale [Cadoz7].Physical model synthesis offers an approach to composition alternative to the more usual signal processing. Considering the musical phenomenon as a "unicum" emerging from the interaction between the musicians and their instruments the physical model synthesis realizes and gives phenomenological and sensitive corporeality to the creative actions. By conceiving not as separate entities sound material and musical structure directs the potentialities of the computer and creates an original and fruitful dialectic between the formal (structural) and perceptual (cognitive).The sphere of action for my PhD concerns the development, formalisation and categorisation of structural models – created by physical modelling – useful for musical composition in the perspective to highlight the musical formalisation function associated with the CORDIS-ANIMA physical model simulation paradigm.The starting point for this work is 20 years of personal use as a composer, of the GENESIS physical model musical creation software developed by the ACROE-ICA laboratory.This experience has led me, through works both scientific (modelling) and artistic (music composition), to consider this environment not as a synthesis tool, but as a complex instrument, which allows to create a complete musical composition covering all three usual categories of acoustics and music: micro-formal (the tone, harmony, orchestration), mezzo-formal (the rhythm, melody, and the basic sequences/harmonic structures) and macro-formal (the higher level harmonic structure, the formal outline of the entire composition).My goal is not to propose the framework of a new music or a new aesthetic, but develop "well-tempered" instruments for a new practice of music creativity that explores and accomplishes better the potentialities of computer and digital technology. This also leads in the direction of broadening the dialectic instrumentality - writing music to a "supra instrumentality" [Cadoz6] and to post-scriptic outlook on musical creation [Cadoz7]

I listen to your heart, city. Torino during COVID19

Giuseppe Gavazza has just joined the Cresson-AAU team since January 2020. He teaches composition at the Conservatory of Music of Cuneo (Piemonte, Italia). He recently obtained his PhD in Cognition, Interaction, Learning and Creation Engineering at CROE-ICA, Grenoble under the supervision of Claude Cadoz and Patrick Revol: "De Rerum Natura: Physical modelling as a tool for musical composition". To get to know him better G Gavazza tells us about his various contributions to cultur..

I listen to your heart, city: Torino during COVID19

Article publié dans Le Cresson Veille et Recherch

SOUNDS, SILENCE AND DREAMS. From the soundscape of the Alta Langa highlands to the dreamland

Photo: Eugenio Pini (CC BY-NC-ND) This work describes an experience of listening to the soundscape – in a specific context (Alta Langa, Southern Piedmont) – where listening, walking and dreaming converge to explore the passages from one experience to the other in order to understand their mutual influences. Further developments suffered a forced interruption due to the pandemic and are waiting to be resumed, with two objectives: To create a format for small groups, applicable in different..

Ascolto il tuo cuore, citta. Listening to My City at the Time of COVID-19

International audienceDuring the COVID-19 lockdown, I suddenly decided to record the sounds of my apartment and my quarter, a lively community in the center of Turin: shops, outdoor markets, bars and restaurants in the day; cinemas, theaters, pubs in the night; the Valentino park, a big green area in the center of Turin on the Po river and the Porta Nuova train station. The soundwalks and the soundscapes I realized daily through the months of lockdown will continue as an online work in progress that allows for a sound exploration of this environment in this period and context. Many things have visibly changed: but is the change even audible? The same unpredictable changes imposed by the emergency have stimulated me to remodel the project that is proposed here in a renewed participatory approach.

Au jardin des voix cachées

International audienceThe Garden of Hidden Voices: the reason why this title seems so appropriate, it is because, that evening, you were introducing an enlarged audience to a quiet alternation, a pseudo-random rhythm and a spatial distribution of sounds coming from nowhere and from everywhere at the same time. And what you were giving us to perceive and meditate on was perhaps precisely the fundamentally secret character of the voice, by recomposing a living and metabolic sound space, all the more significant as the night obscured the presence of the wall, in whose enclosure they were slowly reverberating... The wall - invisible - was reconstituted phonically: the non-verbal sounds spoke to us. And the sound garden thus became a "sound landscape", so true is it that we say of a landscape that it talked to us.Au jardin des voix cachées. Tel est l'intitulé d'un jardin sonore conçu par Giuseppe Gavazza, compositeur musicologue à Turin, ici commenté et discuté avec Pascal Amphoux, architecte urbaniste à Lausanne. Car si ce titre paraît si juste, c'est que tu faisais découvrir à un public ce soir-là élargi, une alternance tranquille, un rythme pseudo-aléatoire et une distribution spatiale de sons venant de nulle part et partout à la fois. Et ce que tu nous donnais à percevoir et à méditer, c'était peut-être justement le caractère fondamentalement secret de la voix, en recomposant un espace sonore vivant et métabolique, d'autant plus prégnant que la nuit occultait la présence du mur, dans l'enceinte duquel doucement elles se réverbéraient... Le mur-invisible - était reconstitué-phoniquement. Les sons, non verbaux, nous parlaient. Et le jardin sonore devenait ainsi "paysage sonore" - tant il est vrai que l'on dit d'un paysage qu'il nous parl