Fabio Cifariello Ciardi

ciardiFcc_vimeo-ico Fcc_youtube-icoFcc_soundcloud-ico flickr-icoFabio Cifariello Ciardi (1960) is a composer using sound and technology to mine real-word phenomena. His most recent interests are in sonification and instrumental transcription of speaking-voice rhythms and inflections.

He studied composition, electronic music and musicology at Rome Conservatory of Music and Bologna University. He studied with Tristan Murail, Philippe Manoury (IRCAM), Franco Donatoni (Accademia S.Cecilia). In 1991 he won the selection for the “Cursus de Informatique Musicale at IRCAM”. In 1995 he has been invited at EMS (Stockholm) and ì IMEB (Bourges) as composer in residence.

His compositions have been awarded prizes at various international competitions: “Ennio Porrino 1989″ (Cagliari), “L. Russolo 1992″ (Varese), “MusicaNova 1993″ (Praha – Czech), “ICMC Cd selection 1993″ (Tokyo – Japan), “Olympia 1993″ (Athens – Greek), “Spectri Sonori93″ (Tulane – USA), XXV Concours Int. de Musique Electroacoustique 1998 (Bourges – France), Valentino Bucchi 1999 (Roma – Italy), ICMC selection 2000 (Berlin – Germany), Premio Nuova Musica – 39° Concorso Internazionale di Canto Corale C.A.Seghizzi (Gorizia – Italy), “VideoEvento d’Arte 2000″ (Torino – Italy), ICMC selection 2002 (Göteborg – Sweden), HK.5 Rimusicazioni Film Festival 2003 (Bolzano – Italy), AITS “Best sound in Italian motion pictures 2011” (Rome, Italy).

His music is published and recorded by Raitrade, Curci, ICMA, CNI-LaFrontiera, Unesco CIME-Cultures Electroniques (Bourges, France), Mudima – Cramps Records, SiltaClassic, Edipan.

His works have been commissioned by Biennale di Venezia, Fondazione ITeatri di Reggio Emilia, Ravena Festival, Fondazione Palazzo Strozzi Firenze, Agon-Centro Armando Gentilicci, Fondazione S.Cecilia di Portogruaro, Comune di Trento, Orchestra Haydn di Trento e Bolzano, Orchestra Sinfonica di Sanremo, Orchestra MilanoClassica, Orchestra di Roma e del Lazio, Divertimento Ensemble – Ernst von Siemens Music Foundation, Exnovo Ensemble, Instituts für Neue Musik di Friburgo, Singapore University, Stockholm Electronic Music Studio, IMEB Bourges, Halle 14 Leipzig & ACC Gallery Weimar.

He has collaborated with Magnus Andersonn, Guido Arbonelli, Uri Caine, Corrado Canonici, Stefano Cardi, Mario Caroli, Karel-Mark Chichon, Roberta Gottardi, Mari Kimura, Massimo Laura, Carin Levine, Michele Lo Muto, Ivo Nilsson, Renato Rivolta, Andreas Weiser, Orchestra Haydn di Trento e Bolzano, Sinfonica di Sanremo, Orchestra MilanoClassica, Orchestra di Roma e del Lazio, KammarensembleN, Exnovo Ensemble, Ensemble Algoritmo.

He has developed software algorithms for dissonance calculation, sound spatialization, financial data sonification, speaking-voice musical transcription and other computer-aided composition tools. Cifariello Ciardi collaborated with the Department of Psychology of “La Sapienza” University in Rome, the Research Institute for Music Theatre (Rome) publishing several works dedicated to music analysis, psychology and policy of music. Cifariello Ciardi collaborates with the Italian radio RAI-Radio3.

Cifariello Ciardi teaches composition at Trento Conservatory and one of the founding members of Edison Studio (http://www.edisonstudio.it).

More info at
www.fabiocifariellociardi.com
http://tn-it.academia.edu/FabioCifarielloCiardi
http://www.researchgate.net/profile/Fabio_Cifariello_Ciardi

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From prosody to instrumental music

Milano, 8/05/2019, 8.30 pm
L’arte orale. Poesia, musica, performance
IULM University  – Via Carlo Bo 1,  20143 Milano

Tolima (Colombia), 22/5/19
Conservatorio del Tolima
VII International University Seminar of Heritage
“Music, Heritage and Region in the Latin American Context”

From prosody to instrumental music:
a compositional challenge

References, memories, associations, symbols constantly contribute to our understanding of the soundscapes that surround us in our everyday lives. Composers of almost any time period or style have embedded this knowledge into music through intuitive investigations of the acoustic properties of various natural sounds (e.g., birds songs, animal calls, environmental sounds). More recently, the rise of digital technologies has fostered compositional processes in which field recordings or other referential sounds are transcribed for acoustic instruments (i.e., instrumental re-synthesis) through the mediation of semi-automatic analysis tools.

Pre-existing sonic objects used as a source material may include pitched sounds of human and other animal vocalizations, various horns and signals used in urban settings, as well as more complex sonic aggregates, such as multilayered field recordings or instrumental ensemble recordings.

Despite such a variety of sound typologies, composers interested in instrumental re-synthesis usually face a recurrent set of interwoven challenges: (1) difficulties in relating a decontextualized referential sound to its original sources and causes; (2) data losses in quantization, segmentation and analysis of the referential sound; (3) recognition and treatment of artifacts produced in the previous steps; (4) music notation constraints; (5) score interpretation and realization; (6) listener recontextualization of the reference material within the composer’s work.  For most of these challenges a general solution has yet to be produced.

In this presentation, the author’s instrumental music based on speech transcription will be considered to outline difficulties, possible solutions and the aesthetical implication of the aforementioned issues.