Director of the Ina-GRM Paris,
will teach as DAAD's Edgard-Varèse-Guest Professor at the TU Berlin in summer 2005.
Biography (english, french).
His Lectures are located at the Großes Studio EN 324.
The focus of his lectures is:
Acousmatic music, its principles, techniques and survival
The upcoming lectures will take place: (Timeschedule)
The basic contens of the lectures:
1) Historical technical review of EA from the GRM approach: machines, systems and ideas. Their implication today in acousmatic composition. The philosophy of transformed sound.
2) The analisis of electroacoustic music. Historical overview, different approaches and techniques. The Acousmographe (a completely new version will be available then) and interactive analysis.
3) Space and music. On this session, I will develop different approaches to space in regards to my own music. The projection systems as Acousmonium, listening music at home.
4) What to do with our heritage. The problematics of preservation. Preservation and digitisation. National and interantional projects. The birth of an effective community to preserve, describe and enhance EA music.
first Block:
May 19 – 20 – 21 2005: The musical work of Daniel Teruggi
Music and Technology; the origins of electroacoustic thought.
A history of currents: Musique concrète, Electronic music, Acousmatic music, Musiques expérimentales, live-electronics, Mixed music, digital music, Electronics, etc…
What did change.
From thought to music, presentation of the work of Daniel Teruggi
Acousmatic and live-electronic compositions, an overview of his main works
Intervention of perception in composition.
Presentation of the work of Daniel Teruggi
Analysis of an Acousmatic work: “Spaces of Mind”, 2004, 17’, for 8 tracks
Presentation of the work of Daniel Teruggi
Analysis of live-electronic works: “Syrcus” for percussion and real-time processing, “Lavoir à sons”, for 5 percussions and recorded Sounds, 2002, 35’, (8 tracks)
The history of the GRM, its origins, growth and implication in the French Cultural life. Its relation to the other French and European institutions.
The GRM machines, history of the technological developments. From the “Phonogène” to the GRM Tools. What worked and what did not.
New trends in research: sound spotting, semantic analysis, sound indexation, the Interpolator.
What is happening today, what to do and into which direction advance?
at Saturday June 11. Teruggi will participate at the “Lange Nacht der Wissenschaften”
Lange Nacht der Wissenschaften
Symposium
Vorträge:18.00, 18.25, 18.50, 19.15 (Dauer jeweils 25 Min)
Podiumsdiskussion: 19.40 – 20.15
Audiovisuelle Workshops: 20.30, 21.00, 21.30 (Dauer: 30 Min)
Musikalische Raumklangerlebnisse
8 bis12 -kanalige Raummusik: 18, 19, 20, 21 (Dauer 1h)
Akusmatische Konzerte (Terruggi): 22, 23, 00, 1 (Dauer 1h)
Analysing electroacoustic music: a new domain implies a new methodology. Problems related to the analysis of non-written music and solutions applied to the problems.
The Acousmographe, a tool conceived for musical annotation and description. Presentation of the software, examples of analysis.
The Acousmographe: its applications and developments. Relations between sound and image.
Electroacoustic music in concert, problems related to space configuration and sound-projection systems. The Acousmonium: its possibilities and philosophy.
The general problems related to media archiving, media detrioration and technology obsolescence. What to keep and how to keep it? The general problem of documentation. Two major projects: PrestoSpace and Quaero
Documenting electroacoustic music. How to ensure that technology can be retrieved in the future. Some existing examples and attitudes.
Making music available for the public, the problem of access. Databases and Repositories, music classification and structuring.
The influence of electroacoustic music in our society. What has changed and what may change. The evolution of technology: what to expect and what to fear.
in this period two acusmatic concerts take place at Elisabeth-church June 8 & 9, 19h – 23h
Information: Festival Inventionen
Born in La Plata, 1952; studied composition and piano in Argentina. In 1977 he moved to France and studied at the Paris Conservatory (Conservatoire National Supérieur de Musique de Paris) in the department of Electroacoustic Composition and Musical Research. In 1998 he obtained a PhD in Art and Technology in the Paris VIII University.
Details:
In 1981, Teruggi became member of the INA-GRM where he first was in charge of the pedagogy of digital systems for composers, and then became Artistic Director of the group. Director of the Groupe de Recherches Musicales since 1997, he is actually Research Director in the INA.
He also teaches Sound and Visual Arts at the Paris I Sorbonne University, and is director of a Seminar on new technology at the Paris IV University.
Among other works he composed:
“Pingata“ for tape in 1979; “Deux Études de Composition for tape in 1980; “Tempo Lontano” for tape in 1982; “Eterea” for tape, and “E cosi via” for piano and tape, both in 1984; “Leo Le Jour” for tape in 1985; “Aquatica” for tape, and “Le Cercle” for flute, clarinet, cello and tape, both in 1986; “Xatys” for saxophones and real time digital processings with Syter in 1987; “Wind Trip” for saxophone, clarinet, French horn, tuba and DX7 in 1988; “Focolaria” and “Terra” for tape in 1989; tape music for “L’Enchanteur Pourrissant” by Guillaume Apollinaire, from "Le Théâtre des Poètes " series, in 1989; “Mano a Mano” for tape, collaboration with Jean Schwarz, in 1991; “Syrcus” for boobams, udu drums, Syter and tape in 1992; “Instants d’Hiver” for tape in 1993; “Saxtenuto” for sax and tape, and “Tempo di Basso” for tenor saxophone, double bass, bassoon and tape, both in 1994; “Gestes de l’Ecrit”, produced with the UPIC system, “Tempo Primo”, and “Variations Morphologiques”, all three works for tape, in 1995; “Summer Band” for bandoneón and tape in 1996; “Fugitives Voix” for recorded sounds on fixed media, and “Reflets Ephemeres” for 16 instruments and recorded sounds on fixed media, both in 1997; “Crystal Mirages” for piano and recorded sounds on fixed media, and “Images Symphoniques” for recorded sounds on fixed media, both in 1998; “The Sshinning Space” for 8 tracks media in 1999, and “Phonic Streams” for piano, percussion and recorded sounds on fixed media, both in 1999; “Struggling” for percussion and recorded sounds on fixed media, and “EST” for sopranino saxophone and recorded sounds on fixed media, both in 2000; “Gira, Gira” for octophonic media in 2001; “Jon-ty” for recorded sounds on fixed media, “Up-IX” for piano and recorded sounds on fixed media, “La voir a Sons” for 5 percussionists, harmony orchestra and electroacoustics, and “Les Baigneuses”, electrocoustic music for the film by Viviene Candas, all four pieces in 2002.
The work for tape known as “Sphæra”, is a four sections version from 1993 based on the original pieces realized between 1984 and 1989: “Eterea”, “Aquatica”, “Focolaria” and Terra”.
Most of the Teruggi’s works involving electroacoustic medias were realized at the GRM studios, but since 2000 he has been composing at his personal studio
For Bios visit also CDeMusic (EMF) and CDMC.
Born 11.3.1952 La Plata, Argentine
Après des études musicales de composition et piano en Argentine, il poursuit son cursus en France, à partir de 1977, dans la classe de Composition Électroacoustique et de Recherche Musicale du Conservatoire National Supérieur de Musique de Paris. En 1983, il rejoint l'INA GRM (Groupe de Recherches Musicales de l'Institut National de l'Audiovisuel) où il est responsable pédagogique pour les systèmes numériques destinés aux compositeurs. Il devient ensuite directeur artistique du GRM. Depuis 1997, il en est le directeur.
Ces dernières années, il s'est plus particulièrement intéressé à la problématique de création des compositeurs, à leur rapport à la recherche et au développement de nouveaux outils qui intègrent leurs demandes et élargissent le domaine des concepts appliqués à la composition électroacoustique.
Il compose des musiques sur support, pour petits ensembles et support ainsi que pour instruments traités en temps réel. Le son acousmatique reste au centre de ses préoccupations. Sa musique a été enregistrée sous différents labels européens et américains, il est l'auteur de nombreux articles sur la musique acousmatique et la projection du son.
Docteur en Art et Technologie de l'Université Paris 8, il enseigne le travail du son associé aux arts plastiques à l'Université Paris I Sorbonne. Il dirige un séminaire sur les nouvelles technologies et la musique à l'Université Paris IV.