Laura Zattra will discuss in PADOVA with Marta Previti and Maddalena Rizzi of women who, starting from Padua, have left a strong artistic mark in Veneto, Italy and the world.
Laura will address how Teresa Rampazzi revisited the idea of creative place, from the home, to the collective, to the conservatory, to the university, in her talk “Teresa Rampazzi: sound creations and co-creations as a meeting place between art and life.”
MICROFESTIVAL DELL’ABITARE_GUERRILLAB MATSURI #02
MEMORIA e RIUSO dal 15.05 al 03.06 2024
The Microfestival second edition builds on the outcomes of the Interior Design Workshop held by Silvia Codato with the collaboration of Davide Cecconello and Elisabetta Gabrielli in the second year of the Bachelor of Product Design, Visual Communication and Interiors at IUAV University of Venice.
Teresa Rampazzi’s music (at least part of it, but we are working for future publications ) is edited by Die Schachtel.
Teresa Rampazzi published only two pieces during her lifetime:
Fluxus (1979) LP EDI-PAN PRC S 20-16, Roma, 1984.
Atmen noch (1980), special mention at the 8th International Concourse of Electroacoustics Music, Bourges (France): collection of winning pieces.
For a number of years, die Schachtel and Laura Zattra (IRCAM équipe APM Associate Researcher and former researcher at University of Padova) have been collaborating in the effort to disseminate her experimental electronic recordings. The research group include Bruno Stucchi and Fabio Carboni (producers), Dinamo, Milano (Design), Laura Zattra (project, research, archival research, liner notes), Sergio Canazza, Antonio Rodà (digitization and digital archiving), Giuseppe Ielasi (mastering).
Studio Elektronische Musik: Nexus [22]: Padua | Profil [62]: Teresa Rampazzi, a program by Reinhold Friedel, 27.05.2017 | 115 Min. | Quelle: WDR Westdeutscher Rundfunk – with interviews to Francesca Rampazzi, Alvise Vidolin, Laura Zattra, & others — Listen here.
Evento in occasione del passaggio di consegne della responsabile della Sezione di Storia della Musica dell’Istituto Storico Germanico da Sabine Ehrmann-Herfort a Vera Grund — Veranstaltung anlässlich der Amtsübergabe der Leitung der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts von Sabine Ehrmann-Herfort an Vera Grund
Conferenza Teresa Rampazzi ed altri pionieri della musica elettronica in Italia
di LAURA ZATTRA
Armando Gentilucci, nel primo libro italiano (1972) dedicato alla musica elettronica, riteneva che i lavori di Pietro Grossi, Enore Zaffiri, Vittorio Gelmetti e altri fossero “applicazioni generalmente molto immature” rispetto a quelli realizzati allo Studio di Fonologia di Milano. Negli ultimi 20 anni la musicologia ha dimostrato che con i loro ‘centri privati’, Grossi (1963), Zaffiri (1964) e Teresa Rampazzi (1965) hanno introdotto nuove pratiche − la collaborazione, la didattica, l’unione con le arti visive, la ricerca tecnologica e informatica, la notazione − che hanno profondamente influenzato la scena successiva e continuano a farlo. L’incontro ricostruisce tali esperienze e presenta i nuovi metodi di studio necessari a ricomporne la storia, con particolare attenzione per l’opera di Teresa Rampazzi, raro esempio di donna pioniera della musica elettronica italiana.
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 pieceAstèrion 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.
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.
CONCERT PROGRAM
Teresa Rampazzi: Fluxus (1979) – 10’40”
Electronic Music
Rebecca Saunders: Dust III (2018-21) – 65′
World Premiere of the version for several percussion players
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 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.
Teresa Rampazzi’s music (at least part of it, but we are working for future publications ) is edited by Die Schachtel.
