Sound Installation extract.  This track is taken from the CD attached to the catalog "sound. self. other / five new works by Agostino Di Scipio", Galerie Mario Mazzoli, Berlin, 2011.

Agostino Di Scipio - Modes Of Interference 4

RITI: Room Is The Instrument is a piece based on a complex system capable of manifesting emergent and chaotic behaviors, where the acoustic personality of an environment (digital or physical) becomes a case of study for the performance and is reflected in terms of variation in the behavior of the system itself.
The first version of the piece was conceived during the period of study for the Master's Degree at the Santa Cecilia Conservatory in Rome, with the help of the supervisor and correlators: Giuseppe Silvi, Agostino Di Scipio and Dario Sanfilippo.
The system is constructed using solutions of differential equations of chaotic systems (The Lorenz Attractor, The Duffing Oscillator) used as the engine of sound synthesis, appropriately influenced by filter banks whose function are to simulate through an acoustic modeling approach certain signals (of musical instruments or other) allowing during the performance the occurrence of modal resonances reminiscent of the behavior of a musical instrument.
The idea for the acronym RITI comes from a famous paper by Agostino Di Scipio, Sound is the interface (SITI), in which he introduced the ability of a system to self-observe itself through its environment.
In the version presented here, the analysis of some cello notes are used to influence the forced Duffing oscillators, whose parameters are modified in real time by the performer exploring their transitions between the modal resonances of the instrument and the threshold of chaos. The system is in a semi-autonomous configuration, meaning that it is capable of autonomy and the action of the performer can potentially affect the behavior of the system during the course of the performance

RITI : Room Is The Instrument (07/09/2023 Studio Performance)

Drew McDowall "Hypnotic Congress"
from the debut LP "Collapse" on Dais Records
Out September 25, 2015
daisrecords.com

Drew McDowall "Hypnotic Congress"

all sound recorded and mixed by franz rosati 
mastered by gianclaudio h. moniri at nan studio,Rome 2015 

BUY | 
http://manyfeetunderconcrete.bandcamp.com/album/black-body-radiation
https://franzrosati.bandcamp.com/album/black-body-radiation

artwork: Andrea Maioli [Kanaka Project] 
produced by manyfeetunder/concrete 
(mfu/c 003) 

www.manyfeetunder.eu 
www.kanakaproject.it

Black Body Radiation -  Quintessence

all sound recorded and mixed by franz rosati 
mastered by gianclaudio h. moniri at nan studio,Rome 2015 
www.franzrosati.com 
info@franzrosati.com 

BUY | manyfeetunderconcrete.bandcamp.com/album/b…diation

artwork: Andrea Maioli [Kanaka Project] 
produced by manyfeetunder/concrete 
(mfu/c 003)

www.manyfeetunder.eu 
www.kanakaproject.it

Black Body Radiation - Strain Tensor

INFOS & ORDER 
http://shelter-press.org/sp063-gabriel-saloman-movement-building-vol-2/

GABRIEL SALOMAN 'Gagaku' (SP063)

This work is a set of three orchestral transcriptions of the Ricercare IX (con quattro soggetti) from the second volume of keyboard works of Girolamo Frescobaldi (1583-1643). What I found interesting in this specific Recordare was the intertwining of voices with four very small thematic subjects which are *the only material* actually constituting the work. Initially working on a single transcription, I soon realized that this material was actually much richer than a single transcription could express and so I stole the idea of the Rouen Cathedrale series by Monet writing three different transcriptions using three different orchestral writing techniques, ranging from farbenmelodien to spectral writing. This is the recording of the first performance of the piece during the 1991 Maggio Musicale Fiorentino at the Teatro Comunale of Florence, Italy. The orchestra is the Orchestra del Maggio Musicale Fiorentino, the conductor is Luciano Berio. The recording is a low-quality documentation recording and the performance is much less than optimal - but it is the only performance of this piece that was ever recorded.

P.S. The poster picture is from another performance in Wien later on in 1992. Unfortunately no recording was made that day.

Tre trascrizioni del Ricercare IX con 4 soggetti di Girolamo Frescobaldi (1991)

This is a study for solo female voice which is part of a larger tryptich of female voice pieces entitled "Tre pezzi con voce femminile". The title is reminiscent of baroque virtuoso pieces in which very often monophonic instruments were made to sound highly polyphonic materials by using techniques which psycho-acousticians today would term as "sound streams". In the Partita, the singer alternates at an increasing pace 13 different vocal idiomatic styles - she actually sings 13 different pieces at the same time. Please note that while this is a studio performance: what you hear is the result of a single performance with absolutely no post-production editing nor electronics added (just a touch of reverberation, which I would have reduced even more had I been the recording engineer). The voice in this performance is by the first performer Leonore Ivy Colbert, to whom the piece was dedicated. Also note that while this current state of the art recording lasts 3'46", the score requires a timing closer to 3'OO" - so there is still a lot of space for improvement :D

Partita per voce sola (1985)

for Soprano
Recording performed by Juliet Fraser
May 2018 at The Gaol, Louth, Ireland
Text from James Joyce's Ulysses, Molly Bloom's monologue
Commissioned by Hitzacker Sommertagen and first performed by Sarah Sun in August 2017

O (2017)

This is sort of a study of childhood and time - I remember very well going to mass as a child, especially Christmas Eve mass, and it was always nearly tortuous for me. Time would elongate into what seemed like millennia; I would somehow never make it out of church, alive, still a child. I would leave as an adult because I'd be there forever. The ceilings were impossibly high - dizzying, even. The origins of sound and the reverberations they made were bewildering to me. I couldn't believe how huge this place was, and how long this ceremony was. I would drift into a sort of liminal, hypnagogic state as time slowed, and the cantor or singers would sing, the reverb drawing out slowly, forever...

Gabriel's Message

I am sitting in a room different from the one you are in now. 
I am recording the sound of my speaking voice and I am going to play it back into the room again and again
until the resonant frequencies of the room reinforce themselves so that any semblance of my speech,
with perhaps the exception of r-r-r-rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech.
I regard this activity nnnnnot so much as a demonstration of a physical fact,
but more as a way to s-s-smooth out any irregularities my speech might have.

Alvin Lucier - I Am Sitting  In A Room (by Davide Tedesco August 2019)

1995,Rome. Composer and Producer.
E-MAIL: lucaspanedda1995@gmail.com

RITI : Room Is The Instrument (07/09/2023 Studio Performance)

Luca Spanedda

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