Teresa Rampazzi Prize: Brulicautoma by Mattia Parisse (September 2022 XXIII CIM)

Since 2018, AIMI scientific committee has conceived a prize for the most original electroacoustic composition, called Teresa Rampazzi Prize. The reason behind this prize resides in the will to recognise any composer who is attentive to combine electronic research with aesthetic research, as Teresa Rampazzi did in her music. Besides being one of the first pioneer of electronic music in Italy (alongside Luciano Berio, Bruno Maderna, Luigi Nono, Pietro Grossi, Enore Zaffiri, Richard Teitlebaum, Alvin Curran, to name a few), Teresa Rampazzi distinguished herself for being one of the few women working in this field. Rampazzi (1914–2001) was a composer, electronic music researcher, pedagogue, former avant-garde pianist, who decided to devote herself to electronic analogue music at the age of 50. Together with optical and programmatic artist Ennio Chiggio, in 1965 she founded the N.P.S. Group (Nuove Proposte Sonore). The Group became one of the main Studios active in Italy alongside Pietro Grossi’s in Firenze and Pisa and Enore Zaffiri’s in Turin. Rampazzi approached Computer Music in the early Seventies, thanks to her close friend and colleague Pietro Grossi; at the time she was 60 years old. In October 1972, the Conservatory of music of Padova appointed her the new Electronic Music Course, of which she was a strong advocate (it was the fourth course in Italy after Grossi in Firenze, Zaffiri in Turin and Angelo Paccagnini’s electronic music course in Milan). Teresa taught to her students analogue techniques during her lessons at conservatory, whereas at the newborn CSC (Centro di Sonologia Computazionale), she produced Computer Music. After the death of her husband in 1984, Rampazzi moved to Assisi and later to Bassano del Grappa (Vicenza), where she continued to compose.

The 1st Teresa Rampazzi Prize edition (XXII CIM conference, 2018) 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 – has been awarded to the piece Astèrion by Rocío Cano Valiño, with special mention to the piece Khēmia I by Demian Rudel Rey.

After a discontinuity in the organization of the CIM conference due to covid pandemic, the 2022 edition of Teresa Rampazzi Prize (XXIII CIM, Ancona) has been conferred to the piece , for the ability to realize a piece with a solid compositional structure, as well as original and organic synthesis techniques.

Listen on YOUTUBE: Mattia Parisse | Brulicautoma | 2021 | 8:08

“Brulicautoma” is a composition for fixed media, based on the sound materials produced by the self-made instrument “Gurdy Gurdy”.


Source: Mattia Parisse, BRULICAUTOMA (2021),


Teresa Rampazzi back at the Darmstadt Ferienkurse!

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”
Electronic Music

Rebecca Saunders: Dust III (2018-21) – 65′
World Premiere of the version for several percussion players

More details of the concert here (also in livestream):

Teresa Rampazzi in 1976 at the Conservatory of Music in Padova in front of the ARP 2500 analog modular synthesizer. Photo by Luciano Menini
Teresa Rampazzi in 1976 at the Conservatory of Music in Padova in front of the ARP 2500 analog modular synthesizer. Photo by Luciano Menini

About Fluxus, 1979

Spatialization: 4-tracks
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 music of Teresa Rampazzi and Laurie Spiegel will be played at the Musica Electronica Nova Festival:


(Artistic Director: Bettina Wackernagel)

Saturday, 27.05.2017

National Forum of Music, Red Hall Plac Wolności 1, 50-071 Wrocław.


Laurie Spiegel Patchwork (1976)
Laurie Spiegel Pentachrome (1974)
Laurie Spiegel Appalachian Grove I (1974)
Teresa Rampazzi Environ (1970)
Teresa Rampazzi Atmen noch (1980)