Roberto Doati

Profile:
He was born in Genoa in 1953. He studied electronic music and informatics with Albert Mayr, Pietro Grossi and Alvise Vidolin with whom he graduated. In 1979 started his activity as a composer and researcher at the Centro di Sonologia Computazionale of University of Padua. From 1983 to 1993 he collaborated with Musical Informatics Laboratory of the Biennal of Venice (L.I.M.B.). From 1988 to 1993 he teached Musical Informatics at the Scuola di Musicologia e Pedagogia Musicale of University of Macerata in Fermo. In November 1996 he was visiting composer at Bretton Hall College for Musica Duemila. From 1996 to 1998 he periodically held courses and concerts in Argentina for the Institutes for Italian Culture of Buenos Aires and Cordoba. Nowadays he is teacher of Electronic Music and responsible for School of Music and New Technologies at the Conservatory “Niccolò Paganini” in Genoa. He took part to the scientific commission of the Group for Analysis and Musical Theory (GATM) from its establishment to 2000. An analysis of works of his own and other historic authors were published by the magazines Perspectives of New Music, Sonus, Quaderni di M/R and by the editors Laterza, ERI-La Biennale di Venezia. In years he has always payed attention to the relations between instrumental language and the creation of new acoustoelectronic languages, and he recently extended his attention to the interactive technologies which allow gestural control of the interpreter on the electronics. His works won him international reviews, like the selection Opera Prima (Teatro La Fenice, 1981) with "Gioco di velocità per suoni sintetici" (recorded by Edipan). In 1992 he realized "Donna che si copre le orecchie per proteggersi dal rumore del tuono", a work for flute and synthetic sounds (recorded by Roberto Fabbriciani for Edipan and awarded by Ars Electronica, Linz) on request of Festival Spaziomusica. In occasion of the 46th International Festival of Contemporary Music (1995), Biennal of Venice commissioned to him a work for voice and electronics: "L’olio con cui si condiscono le parole". In 1997 he was invited at the Centre de Recherches et de Formation Musicales de Wallonie di Liegi to compose the series Felix Regula (I-V) for violin/viola, flute, clarinet, magnetic tape and live electronics, performed at the Festival Ars Musica in Bruxelles (the IV recorded on CD Cybele – DEGEM); harmonic stick for violin, rain sticks and interactive system, realized during a stay at Bogliasco Foundation, was presented in 1999 at Carlo Felice Theater in Genoa. In 2001 he gained a scholarship by Rockefeller Foundation to compose "L’apparizione di tre rughe" for guitar, electronics and interactive system EyesWeb, recorded by Elena Casoli for Stradivarius. In 2002 La Fenice Theater presented at Malibran Theater “Per voce preparata”, mise-en-scene of works for solo voice or with videos and electronics among which his "Allegoria dell’opinione verbale" for actress, electronics and interactive system EyesWeb. With his colleagues Paolo Pachini and Emanuele Pappalardo he took care in 2003 of the realization of the acoustoelectronic cycle “Sopra i monti degli aromi” based on lyrics taken by the Cantico dei cantici for the Ensemble Vocale Oktoechos. In 2005 the American Foundation MacDowell Colony gave him a grant for stay to compose "Un avatar del diavolo", a musical theater work on order of Biennal of Venice for Contemporary Music Festival.
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