In the article “La nuova alleanza tra musica e computer“, published on the University of Padua website ilbolive.unipd.it, Francesca Bastianon writes about Teresa Rampazzi. Inside the article, you can listen Laura Zattra’s voice in a video recorded at the Centro di Sonologia dell’Università di Padova, followed by Sergio Canazza. They recall the the crucial moments in the life of this important pioneer, one of the first women in the world to make with electro-acoustic music. Link to the video: https://youtu.be/toWha0UFMA8
Today, the quadraphonic piece Fluxus by Teresa Rampazzi will be performed during the final concert of the 50th Darmstadt Summer Course. After 70 years, Rampazzi is back at the Ferienkurse (she attended the course also in 1954, 1956, and until 1959, according to historical sources).
Wed, 11 August 2021, 19:30h, Sporthalle Lichtenbergschule
Final concert of the 50th Darmstadt Summer Course.
Teresa Rampazzi: Fluxus (1979) – 10’40”
Rebecca Saunders: Dust III (2018-21) – 65′
World Premiere of the version for several percussion players
Published LP EDI-PAN PRC S 20-16, Roma, 1984.
Premiere: August 1979, Certaldo (Italy).
Original analogue tapes: Teresa Rampazzi Collection, University of Padua (Italy).
Digitization/restauration of the analogue tapes by MARTLab, Florence (Italy).
Fluxus was realized in 1979 with the use of the language ICMS (Interactive Computer Music System), a software created by Graziano Tisato at the CSC – Centro di Sonologia Computazionale at the University of Padova for the synthesis (connected to Music5 program, one of the early computer music programs), the editing and mixing, connected with a video, whose functions and algorithms were selected by means of a light pen. Teresa Rampazzi made the spatialization directly during the mixing of the 4-tracks. She preferred an acousmatic listening experience during concerts. Her musical works would thus be diffused without any further changes, because she disliked the human gesture in live electronic music.
From Teresa Rampazzi’s concert program [based on a citation by Heraclitus]:
«Fluxus was born from the ambitious desire to seek and find a form more adherent to the means we possess today for making music, both at the technological level and the vision of the world that together have required and caused the birth of these means. The computer suggests to us forms that cannot repeat any past, and that reflect our Heraclitean philosophy, where nothing can ever go back. The acoustic signals, therefore, flow one from the other and after the other, in an evolutionary process without interruptions. The [synthesis] technique of Frequency Modulation has been used here precisely to express, even at the level of the microstructure, this instability and incessant transformation that prevents any pause and, in a certain sense, already destroys the traditional concept of structure. Momentary shortcomings of hardware [an IBM System/7 computer system functioning in differed time] and software [the language ICMS – Interactive Computer Music System] prevented a more radical transformation of the signal and undermined the continuity of the form, which still suggests the flow of a river, sometimes slow, sometimes impetuous, sometimes dense, sometimes sparse. The parameters of density, rhythm, range of heights were therefore taken into consideration». Teresa Rampazzi, 1979.
The book Between the Tracks-Musicians on Selected Electronic Music edited by Kerry Hagan and Miller Puckette is finally published!
My chapter focuses on the analysis of “Taras su tre dimensioni” [Taras on three dimensions], a work realized by Teresa Rampazzi in 1971-72 in the course of a transitional phase (her transition from the analogue to the computer music technology).
The approximately eleven-minutes work represents an unicum among Teresa Rampazzi’s repertoire. It is made from the juxtaposition of three typologies of sounds: analogue, concrete and computer made sounds, and is also the only piece in her catalogue which incorporates concrete sounds.
The SMC/CIM 2020 organizing committee announces a call for musical/sonic/media works for the joint 17th SMC Conference (Sound and Music Computing) and XXIII CIM (Colloquium of Musical Informatics), hosted from June 20th to 26th in Torino, Italy. The theme of SMC2020 is Imaging sound.https://smc2020torino.it/uk/default.asp?PID=1
The best work will be awarded the Teresa Rampazzi Prize.
Music submission is FREE.
This will be the second edition of the Prize. In 2018, a novelty of the CIM has been the introduction of the Teresa Rampazzi Prize to the most original electroacoustic composition selected from the call for music, an award that has accompanied the Aldo Piccialli prize to the most innovative scientific contribution in the research on musical informatics. The first edition of the Prix Teresa Rampazzi (2018) has been awarded to the piece Astèrion by Rocío Cano Valiño. Special mention went to the piece Khēmia I by Demian Rudel Rey.
This is a unique opportunity to listen to Rampazzi’s voice, presenting her own piece “Taras su tre dimensioni”. The piece (only a few minutes from the entire work) starts at 2:23.
“Taras su tre dimensioni” [Taras on three dimensions] is a work realized during 1971 by Teresa Rampazzi (1914-2001) – the Italian pioneer of electronic music – in the course of a transitional phase (her transition from the analogue to the computer music technology). The approximately eleven-minutes work represents an unicum among Teresa Rampazzi’s repertoire. It is made from the juxtaposition of three typologies of sounds: analogue, concrete and computer made sounds, and is also the only piece in her catalogue which incorporates concrete sounds.
This audio track is part of a radio programme aired in 1985 “Le nuove frontiere della musica” (New frontiers of music; director: Tonino Delfino). The programme consisted in 10 episodes of about half an hour each, for the Radio Verci (Bassano del Grappa, Italy) with Rampazzi and Delfino discussing the evolution of electroacoustic music, and audio excerpts from the most famous works.
Credits: digitization of the radio programme (Radio Verci, Bassano) made by Tonino Delfino. The uploading of this audio file was made possible thanks to Tonino Delfino and Francesca Rampazzi consent.
We are pleased to announce that in celebration of the last International Women’s Day, TERESA RAMPAZZI has been nominated one of the most prominent technological and musical pioneers. This is an important recognition for her work in the early days of Italian Electroacoustic Music.
The other women/heroes in music tech (WoMuTe) are: Ada Lovelace, Laurie Anderson, Margaret Schedel, Liz Phillips, Laurie Spiegel, Delia Derbyshire, Hilde Marie Holsen, and Holly Herndon.
‘What time are you performing tonight?’
OPENING: Friday, March 01; 7pm Chalton Gallery, 96 Chalton St, NW1 1HJ, London
‘What time are you performing tonight?’, an axhibition curated by Caterina Gobbi, is dedicated to four composers that have shaped the development of early electronic music in Italy: Teresa Rampazzi, Daniela Casa, Ingrid McIntosh, and Maria Teresa Luciani. Their sounds find their way into the exhibition, so do bits and pieces of their histories – or rather what is left of them.
A small publication brings together contributions by Claudia Attimonelli, Frances Morgan, Nina Power, Salomé Voegelin, Andrea May, and Laura Zattra.
Read here (http://cim.lim.di.unimi.it/2018_CIM_XXII_Atti.pdf) the proceedings of the XXII CIM conference (Federico Fontana and Andrea Gulli eds., organized by the AIMI – Associazione di Informatica Musicale Italiana), with a great diversity of researches that bring much excitement and promise to the field of Electroacoustic Music, Computer Music, Sound Design and Sound Studies. The general theme of the 2018 edition – dedicated to Jean-Claude Risset – was the relationship between sound and machine.
A novelty of this CIM has been the introduction of the Teresa Rampazzi prize to the most original electroacoustic composition selected from the call for music, an award that has accompanied the Aldo Piccialli prize to the most innovative scientific contribution in the research on musical informatics.
The first edition of the Prix Teresa Rampazzi has been awarded to the piece Astèrion by Rocío Cano Valiño. Special mention goes to th piece Khēmia I by Demian Rudel Rey. Congratulations!
The Junghans Watch was the one owned by Teresa Rampazzi. She and her teammates at the N.P.S. used it to synchronize every manual operation they needed to create an analogue electronic music experiment, an ‘oggetto sonoro’ (‘sound object’).
The ‘oggetti sonori’ were reminiscent of Schaefferian “Traité des objets musicaux” (Rampazzi was at the GRM in Paris and she had a copy of the Traité autographed by the author), but they were intended to be an evolution, and in fact they were purely synthesised, not concrete.
My presentation at the Muzeum Sztuki w Łodzi in collaboration with the Instytut Adama Mickiewicza, October 13-14 2017, at the “POLISH RADIO EXPERIMENTAL STUDIO” conference, is now online.
Italian Electronic Music Studios of the First and Second Generation (from the 1950s to the 1970s) with a focus on the the triangulation between the S 2F M (Florence), the SMET (Turin) and the NPS (Nuove Proposte Sonore, founded by Teresa Rampazzi and Ennio Chiggio) and their network with other European and International Studios: the IPEM in Ghent, the Electronic Music Studio at Brandeis University, the Polish Radio Experimental Studio in Warsaw, the Muzeum Sztuki in Łódź, the Studio of Electronic Music in Utrecht.