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Dopo il diploma al liceo classico studia architetura alla Sapienza e pianoforte classico con il maestro Emilio Rabaglino. Quindi frequenta la scuola popolare di musica di testaccio (composizione e pianoforte jazz), e partecipa ai seminari estivi della Berklee ad Umbria Jazz e a quelli di Siena Jazz. Suona a Jeddah (Arabia Saudita) per uno scambio culturale, sia come solista che come accompagnatore. Compone una sonorizzazione per una performance teatrale di Filippo Garrone. Suona con la Moinor Funk Orchestra diretta da Angelo Schiavi. Nel 1998 si trasferisce a New York dove studia alla Mannes Jazz School of Music ed all'Istitute of Audio Research diplomandosi in ingegneria del suono. In questo periodo suona in diversi locali di NY e NJ. Compone la colonna sonora per il cortometraggio "taken..." di Bartek Rainski (vincitore al RIFF come miglior corto straniero), scrive e co-produce con lo stesso Rainski il cortometraggio "CONFINI". Nel 2002 lavora a Ouagadougou in Burkina Faso per l'avviamento di uno studio di registrazione (basato sul sistema digitale Soundscape), insegnando ad uno stagista Burkinabé le tecniche di regisrtazione e post produzione, e registrando diversi gruppi locali (verranno prodotti due dischi). Tornato in Italia, finisce insieme a Bartek Rainski la post-produzione del cortometraggio "Confini", e ne compone la colonna sonora. Composizione/sonorizzazzione per la performance video/teatrale "Narciso violento" e "Evian" di Caroline Freddi. Compone musiche per pubblicità, cartoni animati e programmi tv. In questo periodo lavora anche ad una raccolta di brani di carattere minimalista per pianoforte solo intitolata 'gocce', registrata poi nel Giugno 2005 e pubblicata in Ottobre. Insegna pianoforte moderno alla scuola "Officine Musicali". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => gocce-n-5 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:41 [post_modified_gmt] => 2015-01-09 16:05:41 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6804 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 797 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6836 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => swarming starlings [post_excerpt] => Yann Novak was born in Madison, WI in 1979. At an early age, he became interested in the worlds of both music and visual art. He developed his primary medium, collage, via pieces which combined found photographs with his own drawings, and prerecorded LPs with loops and live instruments. In the 1990s, Novak performed and exhibited his work throughout the vibrant Madison café art scene. In 2000, Novak moved to Seattle and refined his methods, trading in turntables and vinyl records for a Mini Disc recorder and a laptop, in order to achieve a more in-depth style of production. Novak has released set of 5 limited edition 3-inch CDs “Three Inches for Friends”. In addition, he has produced two film soundtracks, for “Leaning” (which he also produced), and “Neptune” (produced by Brian Murphy). Both movies premiered at the Seattle Lesbian and Gay Film Festival, in 2003 and 2004, respectively. He was recently included on the compilation “People Doing Strange Things With Electricity” curated by Dorkbot-sea and released by Comfort Stand Records, and was Commissioned by the Crispen Spaeth Dance Group to score there full length piece “Fade”. Novak’s work has withstood a series of changes in method while always retaining and refining the strengths of his unique aesthetic, exploring the overlap and intersection between presence and absence, art and design, sound and music. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => swarming-starlings [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:53 [post_modified_gmt] => 2015-01-09 16:06:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6836 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 829 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6868 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => CFR. nn. Arch.184.2, 185.2 [post_title] => Hoffnug (with Michaela Ehinger) [post_excerpt] => OliverAugst born 1962, is a performer, composer and set-designer and has been working in several fields of art: music (electronic, noise, improvisation), media-theatre/performance, radio plays and sound installation since the early 90s. He studied visual arts with emphasis on stage design at the Academy of Art and Design in Offenbach, and popular music/performance at the Academy of Music and Performing Arts in Hamburg. He has received numerous grants and scholarships, such as the studio grant from the artists’ house Mousonturm (Frankfurt 1991–93), a DAAD grant for free art (Vienna 1994) as well as a grant for composition at the Schloss Solitude Academy (Stuttgart 1995). In 1997, he was a prize-winner at the Dresden Centre for Contemporary Music, where he and the French composer Marc André showed the première of their collaborative piece "Un Fini". His collaborations together with Blixa Bargeld (singer of the famous German band "Einstürzende Neubauten"), the "electronic music theater" (with Ehinger, Daemgen, Korn), the technoise formation "Freundschaft" (with Beck/Daemgen/Cobra), the trio "Blank" (with Rüdiger Carl, pioneer of the European free jazz movement, and Christoph Korn), the Japanese artist On Kawara (Dokumenta11) and the American art star Raymond Pettibon led him to numerous international festivals of contemporary music and media-art (x-tract/Podewil Berlin, Taktlos Bern, Bregenzer Festspiele, Intermedium/ZKM Karlsruhe, Dokumenta11 Kassel, Ars Electronica Linz, Whitechapel Art Gallery London, Knitting Factory New York, European Media Art Festival Osnabrück, Ruhrfestspiele Recklinghausen, WienModern Wien) Oliver Augst was a curator and organiser of the "pol" festival of new music in the Mousonturm artists’ house in Frankfurt (1999-2003). He is a lecturer in Performance Art, Audio-Visual Installation, Set Design and Aesthetics and Communication at the Academy of Art and Design in Offenbach and the University of Applied Sciences Frankfurt. Currently he is co-curating the monthly "HörRaum - audio art series" at Künstlerhaus Mousonturm, Frankfurt. He lives and works in Frankfurt am Main. 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Arch. 184.67, 185.45 [post_title] => Nichijo [post_excerpt] => Riou Tomita started to make music in 1994 and released recordings on KK (Belgium) and Silver (Belgium). Tomita lives in Japan, making music with sampler and computers. She is member of SoundChannel (Japanese record label). [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => nichijo [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:03 [post_modified_gmt] => 2015-01-09 16:07:03 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6932 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 927 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6964 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 185.21 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Primary Residue [post_excerpt] => Born in 1944. Lives and works in London. William Furlong belongs to the generation of British artists who developed a new concept of sculpture in the 1970's and 80's (Gilbert & George, Bruce McLean, Paul Richards etc.). Furlong's special contribution has been in the area of "Sound" and, with the founding of Audio Arts (together with Michael Archer) in 1973, he began a project of mapping the territory of contemporary art in a series of cassette editions. The Audio Arts project is not only a massive archive of interviews with artists but also contains documents of important exhibitions, symposia and festivals plus many original acustic works by artists. William Furlong is professor at the Wimbelton School of Art in London. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => primary-residue [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:06 [post_modified_gmt] => 2015-01-09 16:07:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6964 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 959 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6996 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 185.41 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR). [post_title] => Vanilla Trace [post_excerpt] => Vergil Sharkya' studied composition at the University of Music & Performing in Vienna. Since moving to Liverpool in 1996 he has continued to crate performance-compositions, sonic architecture and poetry. Recent works include vanilla Spray, performed on the roof of a 200ft tower; Matrix, an interactive audio-visual performance-installation presented at the Liverpool Biennal for Contemporary Art: and a series of enhanced electronic composition such as Infradead - Uòltraviolent, kkriscape, ImacGING, zen,.sation, etc. Virgil lives in Liverpool with a princess from Brittany and a virtureal zoo of alter ego and split personalities. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => vanilla-trace [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:07:09 [post_modified_gmt] => 2015-01-09 16:07:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6996 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 991 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 7029 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => Cfr. n. Arch. 183.29, 184.34 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO - whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School. [post_title] => Musak [post_excerpt] => Greyworld are a collective of London based artists who are interested in public-activated art, sculpture and interactive installations. Although often varied in their approach, their work is typically subtle, environmentally reflective and requests special attention. Although they have built up a rich history of acclaimed works since their formation in 1993, their most celebrated piece, so far, is probably The Source a permanent installation for the new London Stock Exchange: A cube of 9x9x9 (729 in total) spherical balls are suspended on cables that run the full 32 metres height of the main atrium of the newly designed building. These spheres, controlled by a computer running Python scripts, can move themselves independently of each other, forming dynamic shapes, characters and fluid-like motions that reflects the nature of the stock market itself. The sculpture opens the market each morning at 8am, with the spheres breaking free from their default cube arrangement to form elegant patterns and shapes. Throughout the day the sculpture responds to reputable news feed and displays snapshots of the current headlines, written in full height of the atrium. At the end of each day’s trading the spheres return to their cubed arrangement, resting on the sculpture’s base, and blue lights inside each sphere are illuminated to show the stock market’s closing price with an arrow to indicate how the market performed on that particular day. Her Majesty Queen Elizabeth II unveiled the sculpture on the 27 July 2004 and the opening was broadcast to a global audience. The installation is broadcast every morning on television to an estimated global audience of 80 million people. Their first interactive public work of art was a series of temporary installations, Railings (1996), first created in Paris and widely copied. In each case the artists took a set of ordinary street railings and tuned them so that when you run a stick or an umbrella along them, rather than making the 'clack-clack-clack' sound as expected, they played The Girl from Ipanema. Bridge 2 by Greyworld, on the Millennium Bridge, DublinMost of their early installations were sound based. In 2000, they took the Millennium Bridge which spans the Liffey River in Dublin, Ireland, and installed a bright blue carpet across its length. Embedded into the carpet were hundreds of tiny sensors that translated the motion of people crossing the bridge into a vibrant soundscape. One moment it sounded as if people were walking through crunchy snow, the next that they were sploshing through water, or walking across fallen leaves. This installation, entitled Bridge 2, drew on ideas that Greyworld had explored in a previous work of art Playground, installed in the Yorkshire Sculpture Park in the U.K. Visitors to the sculpture park stumbled across what looked like a deserted playground with faded markings for mysterious games and benches for spectators. All the elements of the installation, the floor of the playground and the accompanying benches, were sensitised with tiny sensors so that as people crossed the floor they triggered the sound of people playing a game whilst as others sitting on the bench found themselves immersed in the sound of spectators cheering and clapping. The installation is a permanent feature of the sculpture park. Trace by Greyworld, at Hampton Court Palace, EnglandTrace (2005) is a work created for the Maze at Hampton Court Palace, UK. Drawing on its history and on the idea of the maze as a place of furtive conversation and flirtation, Greyworld have created a gentle soundwork that affects the visitors’ experience of their journey from entrance to the centre and back again. As visitors pass through the many green corridors of the maze, they are tempted to follow tantalising sounds - a fragment of music, a snatch of laughter, the seductive rustle of fine silks or the whispers of an illicit conversation as it disappears around a corner and into a dead-end. Slowly the sounds weave together in the visitors mind to create a rich tapestry of the other people who have passed through the maze over the centuries and lost themselves in the seductive privacy of its secluded corners. Later that year they also created Bins and Benches a permanent installation for a public square in Cambridge, U.K. – a group of animated street-furniture that roams free, like buffalo in the urban savannah of their square. When it rains the benches seek shelter under the nearby trees, inviting people to sit on them. As the temperature drops the bins start to shiver and when the sun shines the bins and benches break into song, singing in tight barbershop harmonies. Above all the bins and benches are still functional pieces of street furniture waiting for people to come and sit on them or deposit rubbish in their lids. Worldbench by Greyworld, in various sites around the worldWorldbench (2005) is their most recent installation that uses a park bench to link up locations across the world. It takes an ordinary wooden bench and places up against a screen, placed on a wall, in the school’s playground. Reflected on the screen is the mirror image of the bench, disappearing into the distance; but whilst one side of the bench is in South London the other is in the far north of the country in Sunderland. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => musak [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:18 [post_modified_gmt] => 2015-01-09 16:11:18 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7029 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1025 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 7061 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => For Ian Curtis [post_excerpt] => BURKHARD BEINS (percussion) *1964, lives in Berlin. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe and overseas. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Misiiki, Phosphor, Trio Sowari and also works with Keith Rowe, Sven-Åke Johansson, Orm Finnendahl, Charlemagne Palestine and many others. More than 30 CDs and LPs released on labels like 2:13 Music, Zarek, Absinth, Erstwhile, Potlatch, Hat Hut, Confront, and Rossbin. After some early experiments with tape collages (involving field recordings, tape loops, percussion, found objects, and a piano stringboard) and some occasional rock sessions I started playing my first live concerts of experimental music in the late 1980´s together with guitarist Michael Renkel. Initially also trying to involve tapes and tape loops in the live context, I was more and more exclusively concentrating on an entirely acoustic set-up. Bowing a cymbal and turning a knob are activities which require two kinds of attention, too different from each other not to get in each others way, - while a couple of drums in combination with assorted bells and cymbals turned out to be a rich enough assembly of sound sources perfectly matching my sonic intentions. Not being a trained drummer of any sorts the 1990´s saw me struggling for an individual approach to percussion, but I slowly began developing my own language. Participating in one of Günter Christmann´s VARIO projects, working on Cornelius Cardew´s TREATISE with Keith Rowe and on graphic scores/conducted improvisation with Fred Frith definitely had an impact on me. Moving to London for a short while in 1995 brought me closer to the British improvised music scene. But while my early group FRAKTALES or the quartet NUNC (2:13 Music CD, 1996) could more or less be regarded as traditional improv, and the trio YARBLES (Hat Hut CD, 1997) was even flirting with Free Jazz, a new aesthetic focus was slowly emerging during the second half of the decade, - after I had moved to Berlin in 1996. Together with my long-term collaborator Michael Renkel I began organising a series of concerts and several festivals under the label 2:13 Club, a Berlin version of John Bisset´s 2:13 Club in London. And from 1997 to 1999 our venue Vollrad´s Tonsaal in Berlin-Mitte became an important meeting point for musicians like Axel Dörner, Andrea Neumann, Annette Krebs, or Robin Hayward (who had just moved from London to Berlin) with Londoners like Phil Durrant, Rhodri Davies, John Butcher, or Mark Wastell. Together with Krebs and Hayward I was investigating the musical potential of extremely long silences and very reduced sound material in DAS KREISEN for a short but intense period in 1998, while my duo ACTIVITY CENTER with Renkel also reached a certain point of refined sparseness around that time, although maybe in a less conceptually rigorous way (2:13 Music DoCD: Möwen & Moos, 1999). In the SOWARI QUARTET with Durrant, Davies, Renkel and Beins, some new musical tendencies from London and Berlin found an ideal place to coalesce for a while. But it was also in 1998 when Ignaz Schick was forming PERLONEX, with electric guitarist Jörg Maria Zeger and me, a post-industrial noise trio exploring rather different musical territories. Amongst other things one subject became an issue of constantly growing importance over the last years. Next to acoustic groups like THE SEALED KNOT, ACTIVITY CENTER or MISIIKI and besides my work with PERLONEX I´m finding myself in an increasing number of ensembles and projects incorporating acoustic as well as electronic instruments like PHOSPHOR or TRIO SOWARI, in electro-acoustic duo collaborations with Keith Rowe and Andrea Neumann , or a trio with live-electronics players Boris Baltschun and Serge Baghdassarians, and I´m participating in interactive computer program pieces with Orm Finnendahl and POLWECHSEL. Refusing to attach piezo contact-microphones on my instruments, not to loose the richness of the acoustic sound source, or to get electronic instruments involved myself, working in electro-acoustic or electronic music contexts nevertheless forces me to keep on searching for acoustic material of almost electronic sound qualities and to further my development of new playing techniques far beyond traditional drumming. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => for-ian-curtis [to_ping] => [pinged] => [post_modified] => 2019-08-13 15:14:07 [post_modified_gmt] => 2019-08-13 13:14:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7061 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1057 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 7093 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The Auxiliary Accident [post_excerpt] => Wäldchengarten is a Danish duo from 1999, consisting of the brothers Lars and Dennis Hansen. The duo’s experimental musical work takes as its starting point the intense, hard core and minimal sounds that are not often used for music production: noise and ambient. Their music rises up like a wall of noise yet incorporates a sense of fragility amidst the chaos. Wäldchengarten has a number of records out and has played several concerts in Denmark and abroad. www.waldchengarten.dk Technical Breakdown is an international sound art exhibition, which took place uin the public space of Cophenagen, denmark in November 2005 - January 2006. The exhibition consists of 5 different listening posts presenting 30 sound works by artists from 10 different countries.The sound art exhibition Technical Breakdown takes as its starting point the chaotic and unpredictable field of communication in which misunderstanding and the unspeakable take on a life of their own. The exhibition encourages "a grant of self conduct" practice, setting loose sounds and feedback from all spheres making it possible for them to diffuse and mingle into the sound-scapes we inhabit.The exhibition consists of 5 different listening posts, eahc presenting its own perpective pn the error. The listening posts introduce the audience to a numebr of unique sound worlds, using the technical breakdown itself as a strategy to give voice and body to that which would not otherwise surfece. Through circuit bending, cut-ups and samples, the sound art reaches into the environment and breaches the continuity of our rational experience of the world. The art works show us unconcious moods and phenomena, and connects circuits not designed to be connected. The surroundings are animated by sound which again enhance our sense of space. The sound works mark the installation sites by interfering and underlining, amplifying or unermining the surroundings. In this way the sites themselves take part in creating cross-references between the many different layers of sound that one is likely to be tuned in on simoultaneously, though at different levels of intensity. The listening post Panic Room turns up the paranoia and surveillance atmosphere in the shopping centre Field's. The intimidating refuge criticises as well as imitates consumer culture buffoon and chaos with sample of sound from media and the collapse of discourses. At The Culture House KIB, The Cones couples the harbour front with the another dimension. The sounds function as a portal linking the site to be underground and the mystical. At The Royal Library The Black Diamond, The Glass breaks the borders between inside and outside - between private and public - with its fragile, crisp sounds and forces itself on the visitor's itnimate sphere. At the cinema and film institute, Cinemateket, Sonographic Stele translates picture itno sound and sound intopicture. One language talks on behalf of the oher an dinitiates acomplicated dialogue on the verge of nonsense. In the web-basedc listening post, City on the Net everything is inter-twined cacophony - no sound is limited to its original context, while virtual cities are recreated as soundscapes. The artists participating in Technical Breakdown all contemplate events and notions that are out of our reach - and out of control. In the exhibition sound layers ranging from the fictive ti the real, from the cognitive to the evocative come together and form a sonic web around us. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-auxiliary-accident [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:11:24 [post_modified_gmt] => 2015-01-09 16:11:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=7093 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 1089 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6804 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => gocce n.5 [post_excerpt] => Studia chitarra brasiliana e chitarra flamenco. Dopo il diploma al liceo classico studia architetura alla Sapienza e pianoforte classico con il maestro Emilio Rabaglino. Quindi frequenta la scuola popolare di musica di testaccio (composizione e pianoforte jazz), e partecipa ai seminari estivi della Berklee ad Umbria Jazz e a quelli di Siena Jazz. Suona a Jeddah (Arabia Saudita) per uno scambio culturale, sia come solista che come accompagnatore. Compone una sonorizzazione per una performance teatrale di Filippo Garrone. Suona con la Moinor Funk Orchestra diretta da Angelo Schiavi. Nel 1998 si trasferisce a New York dove studia alla Mannes Jazz School of Music ed all'Istitute of Audio Research diplomandosi in ingegneria del suono. In questo periodo suona in diversi locali di NY e NJ. Compone la colonna sonora per il cortometraggio "taken..." di Bartek Rainski (vincitore al RIFF come miglior corto straniero), scrive e co-produce con lo stesso Rainski il cortometraggio "CONFINI". Nel 2002 lavora a Ouagadougou in Burkina Faso per l'avviamento di uno studio di registrazione (basato sul sistema digitale Soundscape), insegnando ad uno stagista Burkinabé le tecniche di regisrtazione e post produzione, e registrando diversi gruppi locali (verranno prodotti due dischi). Tornato in Italia, finisce insieme a Bartek Rainski la post-produzione del cortometraggio "Confini", e ne compone la colonna sonora. Composizione/sonorizzazzione per la performance video/teatrale "Narciso violento" e "Evian" di Caroline Freddi. Compone musiche per pubblicità, cartoni animati e programmi tv. In questo periodo lavora anche ad una raccolta di brani di carattere minimalista per pianoforte solo intitolata 'gocce', registrata poi nel Giugno 2005 e pubblicata in Ottobre. Insegna pianoforte moderno alla scuola "Officine Musicali". 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