Dante Tanzi – Musica Elettroacustica

 

Contemporary waves (2015) 

Contemporaneity is an audience that looks in the mirror. Contemporaneity is a mix of football matches, dance rhythms and applauses at the funerals. Contemporaneity dresses in rags and luxury, in distraction and fear. Contemporary is history of limits, transits and borders. It is the beach on which religious hymns, invocations to frau Merkel and songs of refugee go to breaking on. Contemporaneity is history of bodies that emerge, from a bottom without light, all together floating, mixed in confusion such as scrap of a shipwreck.

 

Dante Tanzi bio

After majoring in Philosophy, Dante Tanzi went on to study composition, electroacoustic music and musical informatics. From 1985 to 2009 he worked at L.I.M., the Musical Informatics Laboratory of the University of Milan. In 2009 he attended the Futura Festival annual acousmatic interpretation course (Crest, Drôme). Since 2012 he has been performing works of the acousmatic repertory on the acusmonium SATOR (Centro Culturale San Fedele of Milan) and on the acusmonium mobile AUDIOR. Since 1988 his compositions have been performed in Italy and abroad: Rome (CIM 1988); Zurich (Euromicro – 1988); Moscow (Italia 2000 – 1988); Lugano (Computer Music Concert – 1991); Montreal (ÉuCuE – 2001); Crest (Festival Futura – editions 2008, 2009, 2010, 2011, 2013); Huddersfield (ICMC – 2011); Flix (Nit Electro Sonora – 2013); Milan (Festival 5 Giornate, 2014); Paris (Festival LICENCES – editions 2006, 2007, 2008, 2009 and 2014), Belfast (Festival Sonorities, 2015), Lille (SIME, 2015); New York (NYCEMF 2015). He published essays on CTheory, Leonardo Music Journal, Leonardo, Cogito, Crossings, De Musica, Organised Sound and Contemporary Music Review. He is consulting professor at CESMA (European Center for Studies in Music and Acoustics).

 

Dante Tanzi è compositore e interprete di musica elettroacustica, diplomato in Musica Elettronica al conservatorio Giuseppe Verdi di Como. Sue composizioni sono state eseguite in Italia (Musica Nel Nostro Tempo, Colloqui di Informatica Musicale) in Svizzera (Euromicro, Computer Music Concert), in Canada (EuCue Series), nel Regno Unito e in Irlanda (ICMC, Sonorities), in Spagna e nei Paesi Baschi (Festival di Flix, Festival Bernaola) in Francia (Festival Licences, Festival Futura, SIME) e negli Stati Uniti (NICEMF). Dal 2012 prende parte alle stagioni di ‘San Fedele Musica’ (musica acusmatica, videoarte e Cin’acusmonium) come interprete all’acusmonium. Nel 2011 e nel 2014 ha curato il programma dei concerti di musica acusmatica nell’ambito del ‘Festival 5 Giornate’ di Milano. Dal 2012 cura la programmazione dei concerti dell’acusmonium mobile AUDIOR (realizzato da Eraldo Bocca) e la pubblicazione di composizioni acusmatiche in collaborazione con l’etichetta obs (Rostov) Dal 2013 tiene laboratori di interpretazione acusmatica per i conservatori (Como, Torino) e per il CESMA (Centro Europeo Studi Musica e Acustica di Lugano). Dal 1985 al 2009 ha lavorato presso il Laboratorio di Informatica Musicale dell’Università degli Studi di Milano. E’ autore di saggi pubblicati su Leonardo Music Journal, Leonardo, Organised Sound, Crossings and Contemporary Music Review. E’ membro fondatore dell’associazione ‘AUDIOR’.

Pubblicazioni

Linguaggi compositivi e innovazione tecnologica fra scienza ed arte (1999)
http://pop-sheet-music.com/Files/a6d8aa190dede0a8ad092a49e68764fb.pdf
The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories (1999)
http://www.mitpressjournals.org/doi/abs/10.1162/096112199750316884

Time, proximity and meaning on the net (2000)
http://www.ctheory.net/articles.aspx?id=124

Paradigms of Change in Music and Digital Communication (2000).
In Roy Ascott (Editor): Art, Technology, Consciousness.
Intellect Books (UK and USA), pp. 108-113.
http://monoskop.org/images/2/29/Ascott_Roy_ed_Art_Technology_Consciousness_Mind_Large.pdf

Observations about music and decentralized environments (2001)
http://www.jstor.org/discover/10.2307/1577236?uid=4&sid=21103206316271

Music negotiation: routes in user-based description of music (2001)
http://www.dmu.ac.uk/documents/art-design-and-humanities-documents/research/mtirc/nowalls/mww-tanzi.pdf

Musical experience and online communication (2003)
http://crossings.tcd.ie/issues/3.1/Tanzi/

Information technology and communication of musical experience: categories, conflicts and intersections (2004)
http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=227629

http://resonances2003.ircam.fr/rubriquef430.html

Musical objects and digital domains (2005)
http://www.ems-network.org/IMG/EMS2005-Tanzi.pdf

Musical thought networked (2005)
http://www.music.mcgill.ca/~ich/research/misc/papers/cr1061.pdf

Language, musicand resonance in cyberspace (2005)
http://www.tandfonline.com/doi/full/10.1080/07494460500296201#.UsnM9PvueUA

The Role of Behaviour in the Analysis of Electroacoustic Music (2007)
http://www.ems-network.org/spip.php?article274

Digital time: complexity and perception (2008)
http://quod.lib.umich.edu/cgi/p/pod/dod-idx/digital-time-complexity-and-perception.pdf?c=icmc%3Bidno%3Dbbp2372.2008.043

Extra-Musical Meanings and Spectromorphology (2011)
http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=8151349&fulltextType=RA&fileId=S1355771810000415

Dante Tanzi web pages

 

CESMA Page:

https://www.cesma.ch/author/dantetanzi/

Facebook page:    

https://www.facebook.com/dante.tanzi