on music and beauty

Category: About

Curriculum Vitae in italiano

Lamberto Coccioli è Professore di Musica e Tecnologia e Vice-Direttore del Royal Birmingham Conservatoire, parte della Birmingham City University in Inghilterra. Coccioli ha studiato architettura e storia dell’arte all’Università La Sapienza di Roma, composizione con il Maestro Edgar Alandia, e ha completato la sua formazione musicale con il Maestro Azio Corghi al Conservatorio “G. Verdi” di Milano. Ha preso parte a corsi estivi e masterclass con Pierre Boulez, Elliott Carter e George Benjamin, ed ha frequentato l’Alto Corso di Perfezionamento per Giovani Compositori dell’Accademia Toscanini di Parma diretto da Corghi. Sono di profonda influenza sulla sua formazione una serie di viaggi in remote regioni della Colombia per registrare suoni naturali e musica delle comunità indigene.

In una carriera di più di venticinque anni Coccioli ha lavorato come compositore, interprete, tecnologo, ricercatore ed educatore, sia in Italia che nel Regno Unito. Nel 1994 comincia una fruttuosa collaborazione con il Maestro Luciano Berio, e due anni dopo è invitato a unirsi a Tempo Reale, il centro di ricerca sulle nuove tecnologie applicate alla musica fondato da Berio a Firenze. A Tempo Reale Coccioli lavora come compositore, educatore, esecutore e coordinatore artistico. Dal 1997 al 1999 è responsabile delle produzioni musicali di Tempo Reale e prende parte all realizzazione dei lavori di Berio con elettronica, fra cui Ofanim (Carnegie Hall 1997 e Festival dello Schleswig-Holstein 1998), Outis (La Scala 1996) e Cronaca del Luogo (Festival di Salisburgo 1999). Nel 2000 viene invitato da AGON, il centro milanese di ricerca e produzione musicale, per realizzare installazioni interattive (Intercos al COSMOPROF di Bologna) e progetti educativi (Suoni in Corso). In anni più recenti Coccioli ha realizzato live electronics e sound design per una serie di eventi di alto profilo con l’Orchestra Sinfonica di Toronto (Book of Hours di Julian Anderson nel 2007), Birmingham Contemporary Music Group, Athelas Sinfonietta e Den Nye Opera a Bergen (L’amour de loin di Kaija Saariaho nel 2008).

La sua musica è stata eseguita in Italia e all’estero: Milano Musica, Festival Nuova Consonanza a Roma, Novecentomusica a Firenze, Music Xtra Festival in Inghilterra. Nel 1997 il celebre trombettista Gabriele Cassone gli commissiona Antidotes: Red-earth per tromba naturale e live electronics. Nel 1998 il CIDIM (Comitato Italiano Musica) in coproduzione con il Teatro Rossini di Lugo, il Teatro di Parma e la Fondazione Arturo Toscanini gli commissionano l’opera Magma su testi di Sebastian Schloessingk per attori, cantanti, orchestra e live electronics. Fra i lavori più recenti Touch per pianoforte e live electronics, river teach me per soprano e quartetto d’archi, Flectar per trombone e live electronics scritto per David Purser, e Alúna per viola, ensemble e live electronics, scritto per Rivka Golani.

Nel 2000 Coccioli viene nominato Direttore del Dipartimento di Tecnologia Musicale del Birmingham Conservatoire in Inghilterra, e dal suo arrivo sviluppa una strategia di integrazione delle nuove tecnologie con le varie attività accademiche e artistiche del conservatorio. Dal 2001 al 2005 Coccioli dirige il Thallein Ensemble, un gruppo di studenti dei corsi superiori dedicato alla nuova musica, con il quale promuove l’esecuzione di novità e repertorio di musica contemporanea europea con live electronics. Opere di Blondeau, Colombo Taccani, Corghi, Fedele, Jodlowski, Leroux, Romitelli sono fra le molte prime esecuzioni inglesi presentate dal Thallein Ensemble. Nel 2003 Coccioli fonda il Centre for Composition and Performance with Technology, collaborando a concerti e progetti di ricerca con Jonathan Harvey (la modernizzazione delle sue opere che usano tecnologie ormai obsolete), Julian Anderson (l’elettronica di Book of Hours, vincitore del Royal Philharmonic Society Award per composizioni su larga scala), Luca Francesconi (una nuova versione del suo pezzo multimediale Lips Eyes Bang) e molti altri. L’anno successivo è responsabile per la trasformazione della Recital Hall del Birmingham Conservatoire in uno spazio dedicato all’esecuzione di lavori multimediali e con live electronics.

Dal 2005 al 2012 Coccioli dirige Integra – Fusing music and technology, un progetto di 3,1 milioni di Euro finanziato dal programma Cultura dell’Unione Europea. Integra riunisce conservatori, centri di ricerca e ensemble di musica contemporanea con lo scopo di promuovere la musica con live electronics. Uno dei maggiori risultati del progetto, il software Integra Live è stato adottato per l’insegnamento da molte istituzioni musicali in tutto il mondo. Nel 2009 Coccioli crea con Jamie Bullock l’Integra Lab, un centro di ricerca dedicato alla creazione e sviluppo di tecnologie interattive concepite specificamente per compositori e interpreti.

Fra gli articoli scritti da Coccioli sulla sua ricerca si trovano Modernising live electronics technology in the works of Jonathan Harvey [ICMC Proceedings, Barcelona 2005], Modernising musical works involving Yamaha DX based synthesis: a case study [Organised Sound, vol 11 no 3, December 2006], entrambi scritti con J. Bullock, A novel approach to music with live electronics [Nordic Sounds, No. 4 December 2006], Sustainability of live electronic music in the Integra project [Melecon IEEE Proceedings, Ajaccio 2008] con J. Bullock and H. Frisk, Towards a humane graphical user interface for live electronic music [NIME Proceedings, Pittsburgh 2009] e Live Electronics in Practice: Approaches to training professional performers [Organised Sound, vol 18 no 2, August 2013].

Nel 2011 Coccioli ottiene un MBA alla Warwick Business School con una dissertazione su un modello sostenibile (da un punto di vista finanziario, sociale e ambientale) per i conservatori di musica in Gran Bretagna. Da allora Coccioli ha contribuito più direttamente alla gestione del Royal Birmingham Conservatoire, dirigendo l’espansione delle attività internazionali in Estremo Oriente, Sud Africa e America Latina, e ricoprendo un ruolo chiave nella progettazione e costruzione del nuovo edificio del conservatorio che è stato inaugurato nel settembre 2017.

[revisione novembre 2017]

So far

“…que si j’eusse été entre ces nations qu’on dit vivre encore sous la douce liberté des premières lois de la nature, je t’assure que je m’y fusse très volontiers peint tout entier, et tout nu.”

Somehow I was going to be an architect, seduced by the impossible beauty of the city where I grew up. I remember fondly my assiduous frequentations of Rome’s old courtyards during the never-ending summers of my youth: the sudden coolness of the air after the scorching heat of the narrow cobbled streets, the subdued light, the stillness.

The enchantment lives on, but it has acquired a different, more abstract quality: instead of buildings, I ended up crafting sounds, as far away as you possibly can from the solid boundaries of materials and shapes. Many years after abandoning my architecture studies I had a painful glimpse of a parallel universe: I was interviewing Renzo Piano for a television documentary in his studio perched on the hills west of Genoa, overlooking an infinite blue among the olive-trees – the essence of the Mediterranean, the South, in a civilised, tamed version, but still quite powerful… – and I wondered if this visible outer order, the purring organisation of a world-class architecture workshop in the background, this almost indecent convergence of aesthetic and practical values, were the right answer to my restlessness.

Like many in this strange business of composing music, I crave concentration and silence: the freedom of solitary creation is pure joy, day after day. Yet, I could not at the time, and still cannot, come to terms with the narrow, artificial, often sad world of so-called contemporary music. It is a fine but ultimately empty construct, soon to be catalogued as a historical oddity. It seems to me that contemporary music is lacking three fundamental elements: it has no name, it has no audience and it has no real cultural role. As a niche in a niche, it perpetuates itself on the belief that it has some intrinsic value.

During a rainy summer holiday in Switzerland, I was about twelve, we visited for a few days St Moritz. At the Belvedere, in one of the empty reception rooms overlooking the valley, an ancient Blüthner grand piano seemed to wait for my brother and me. I can still feel the physical pleasure of touching the keys, and improvising endlessly on a descending tetrachord taken from Modern Jazz Quartet’s Blues on Bach. The rich, mellow consistency of the octaves in the bass, the sweet, harmonious midrange: pure bliss… This, and the memory of listening over and over again to John Coltrane’s version of My Favorite Things some years later, late at night in my bedroom.

For all of us the most enduring musical memories are always the earliest: the aura of Pollini’s Deutsche Grammophon recording of Chopin’s Études, a moving combination of the sepia cover, the unattainable perfection of the performance, and the spell of the quiet streets of the Aventino in Rome, where my friend Pietro lived and where I discovered classical music; Miles Davis’ Carnegie Hall concert, Schoenberg’s piano pieces, again performed by Pollini, Astrud Gilberto and Erroll Garner all retain their initial magic.

If I have to single out one episode, it will certainly be the unforgettable afternoon when I attended for the first time a classical music concert. I was thirteen, spending three weeks in a kind of summer camp to learn English called “The Meadows” near Lucignano, in Tuscany. The enlightened owners had prepared a varied cultural programme for the kids, and one afternoon we found ourselves on the way to Gargonza castle, a haunting, Dantesque fortified village perched on a hilltop amidst forests and rolling fields. I don’t remember who played the piano that afternoon, but I do remember two pieces in the programme – Debussy’s L’île joyeuse and Barber’s Piano Sonata. I listened in awe as a new world opened before me – the experience deeply transformed me. On the way back, on the bus, I told my somewhat sceptical friends that it had been the happiest day of my life.

We have to solve this paradox – contemporary creation versus the museum of classical music: on one hand we have an unbelievably rich repertoire of works from the distant past that never ceases to move and amaze us, on the other a vast, crowded landscape of new creation that demands – mostly very loudly – our attention.

[work in progress]

List of works

OPERA

Magma, or The See-Through Wilderness [1996-1998] 70′, commissioned by CIDIM, Rossini Theatre in Lugo and Toscanini Foundation in Parma.
2 actors – Uomo, Donna
4 singers – Soprano, Mezzo, Baritone, Bass
orchestra – 1.1.1.1 1.1.1.0 2 perc [marimba, vibraphone, wood blocks, wood chimes, logdrum, 2 big maracas, 4 congas, timbales, snare drum, triangle, tuned gong Bb3, 5 cymbals, 2 Chinese cymbals] MIDI keyboard, strings 2.1.1.1
live electronics 2 operators, Tempo Reale, Florence
text by Sebastian Schloessingk


ORCHESTRAL MUSIC

Tre Variazioni [1993] 12′, for orchestra.

…the sun is out, the sun is out [1994] 8′, for large orchestra.

Alúna [2005] for viola, ensemble and live electronics; written for Rivka Golani; orchestra – 1.1.1.1 1.1.1.0 1 perc [marimba] piano, strings 2.1.1.1 viola solo, live electronics 2 operators.


CHAMBER MUSIC

Studio [1986] 8′, piano.

Kamu-purrui [1992] 9′, alto flute; written for Carlo Ipata.

Per Iona [1992] 4′, piano.

Boys And Girls Between The Wars [1993, rev. 2001] 8′, mezzo-soprano, flute [doubling alto flute] piano and cello; on a poem by Sebastian Schloessingk.

Il divo Claudio [1994] 6′, narrator, flute, clarinet, guitar and cello; on a poem by Zbigniew Herbert, commissioned by Nicola Campogrande.

Three Sephardi Melodies [1994] 8′, baritone, flute, clarinet, guitar and cello, commissioned by Alberto Iona.

Cinque Amori [1994] 10′, narrator, flute [doubling alto flute and bass flute in C], clarinet [doubling bass clarinet and Eb clarinet), guitar and cello; on texts by Thomas Moore, Russian folklore, Simone de Beauvoir, Aristophanes, Maynard d’Aubigné; commissioned by Paola Roman and the Toujours Ensemble.

Il racconto delle nuvole – Sette scene musicali [1995] 15′, narrator, flute [doubling alto flute], clarinet [doubling bass clarinet], guitar and cello; text by Marco Vacchetti, commissioned by Paola Roman and the Toujours Ensemble.

Antidotes: Red-earth [1997] 7′ for natural trumpet and live electronics; commissioned by Gabriele Cassone.

Touch [2001] 11′, piano and live electronics.

river teach me [2002] 10′,mezzo-soprano and string quartet; on a poem by Zbigniew Herbert, written for Monica Bacelli, shortlisted by the SPNM in 2003.

Flectar [2004] 8′, trombone and live electronics, written for David Purser.


CHOIR

A poem para Gloria [1991] 6′, a cappella chamber choir [SATB]; on a poem by e.e.cummings.


ELECTROACOUSTIC MUSIC

Novecento [1999] 25′.


SOUNDTRACKS FOR AWARD-WINNING DOCUMENTARY FILMS

Colombia Nuevo Mundo by Mauricio Garcia Matamoros, (Colombia-Italy 1992)

Life after life by Enrica Colusso (Metafilm, Italy 1995)

No Risk No Champagne by Enrica Colusso (Fandango, Italy 2003)


MUSIC FOR THE RADIO

Novecento, electro-acoustic soundtrack for a series of sixty programmes on the
20th century by RAI RadioTre, Italian National Radio (first broadcast in 1999).


INTERACTIVE INSTALLATIONS

Intercos with AGON at Bologna’s COSMOPROF (2000), a six-room interactive environment with audio and video events triggered by visitors through gesture-controlled sensors.

Colophon

These pages are indebted to Michel De Montaigne, whose journal and essays have been a quiet, constant source of inspiration.

WordPress is a wonderful tool to create blogs and much more. Many thanks to Matt Mullenweg, the creator of WordPress, and to the many developers that have improved on the core functions of the software.

I thought that setting up a nice blog with some static pages and media content would have been a straightforward affair. It turned out to take an inordinate amount of time and effort. On top of digging deep into WordPress documentation and forums, I had to learn the basics of the PHP scripting language, MySQL and phpMyAdmin; a good deal of HTML and CSS and bits of UNIX commands and Apache… Just by counting the acronyms in the previous sentence you’ll have to agree that something is wrong here!

We are still a long way from having simple, user-friendly yet flexible tools to create personal blogs and web pages. Although WordPress is one of the best publishing platforms and offers a very friendly admin interface, it still falls short of my requirements for a usable and flexible tool. But then, the intricacies of how a web page is generated, and the need to support different implementations will always be a barrier for developing more intuitive tools. With time…

This site uses the beautiful Hemingway theme by Anders Norén.

I’m currently using two great web services, Soundcloud for listening to audio files and issuu for visualising scores and papers.

This website uses the following WordPress plugins:
Akismet by Automattic
Broken Link Checker by Janis Elsts
Configurable Tag Cloud by Keith Solomon
Convert Post Types by Stephanie Leary
Google Universal Analytics by Audrius Dobilinskas
Google XML Sitemaps by Arne Brachhold
Post Tags and Categories for Pages by Curtis McHale
SB Child List by Sean Barton (Tortoise IT)

[updated October 2015]

Curriculum Vitae


EDUCATION

2008-2011 MBA, Warwick Business School, University of Warwick. Final dissertation on ‘The Sustainable Conservatoire: A Blueprint for Higher Music Education in the UK’.

1994-1995 Postgraduate Advanced Training Course for Composers directed by Azio Corghi, Fondazione Arturo Toscanini, Parma, Italy.

1994 Postgraduate Diploma in Music Composition, Conservatorio ‘G. Verdi’, Milan.

1990 Undergraduate Diploma in Music Composition, Conservatorio ‘Santa Cecilia’, Rome.

1984-1987 History of Art, Faculty of Arts and Humanities, University of Rome ‘La Sapienza’: History of Medieval Art, History of Renaissance Art, History of Contemporary Art, Iconography, Artistic Literature, History of Music.

1981-1984 Architecture, Faculty of Architecture, University of Rome ‘La Sapienza’: Architectural Composition, Technical Drawing, Descriptive Geometry, Mathematical Analysis, Statics, History of Architecture, Contemporary Art Aesthetics.

1977-1981 Liceo Classico ‘G. Mameli’, Rome: Italian, Latin, Greek, Religion, Philosophy, History, Geography, English, French, Mathematics, Science.

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PROFESSIONAL DEVELOPMENT

2012 Entrepreneurship Mentoring Programme, Warwick Business School.

2009 ‘Preparing for Senior Strategic Leadership’ Programme, The Leadership Foundation for Higher Education.

2009 ‘Creative Enterprise Workshop’, National Endowment for Science, Technology and the Arts, Birmingham.

1995 Composition Course with George Benjamin, Santa Cecilia National Academy, Rome.

1991 Composition Course with Elliott Carter, Centre Acanthes, Villeneuve-lez-Avignon, France.

1988 Composition and Conducting Course with Pierre Boulez, Centre Acanthes, Villeneuve-lez-Avignon, France.

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EMPLOYMENT

2014 – current Associate Principal, Royal Birmingham Conservatoire, Birmingham City University.

2012 – current Professor of Music and Technology, Birmingham City University.

2010 – 2014 Head of International Development, Birmingham Conservatoire, Birmingham City University.

2000 – 2014 Head of Music Technology, Birmingham Conservatoire, Birmingham City University.

2000 Lecturer in Music Technology and Live Electronics, SUONI IN CORSO, AGON Acustica Informatica Musica, Milan.

2000 Composer, music technology consultant and project manager, AGON Acustica Informatica Musica, Milan.

1998 – 1999 Consultant and project manager, Centro Tempo Reale, Florence.

1998 Artistic co-ordinator, Centro Tempo Reale, Florence.

1996 – 1998 Composer, consultant and music technologist, Centro Tempo Reale, Florence.

1994 – 1999 Musical assistant to composer Luciano Berio, Radicondoli (Siena) and Florence.

1988 – 1989 Assistant Head of Marketing, Profusion Marketing and Communication Consultancy, EMI Pathé Marconi account, Boulogne-Billancourt, Paris.

1983 – 1985 Co-founder and Music Director, La Festa Mobile Theatre Association, Rome.

1983 – current Composer, sound designer, music technologist and performer.

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GRANTS, SPONSORSHIPS AND DONATIONS

AHRC

2020 ‘Augmented Vocality: Recomposing the Sounds of Early Irish and Old Norse’, Standard Grant (ref. AH/T006978/1), £485,274.

2019 ‘Innovation in live performance: developing interactive technologies for opera and theatre productions’, UK-China Creative Industries Partnership Programme (ref. AH/T001348/1), phase 1, Total project value £57,000.

The Leverhulme Trust

2015 Leverhulme Arts Scholarships, £248,250.

Culture Programme of the European Union

2008-2012 ‘Integra, Fusing music and technology’ (ref. 2008-2312). Total project value €1.9M, EU grant value €923,000. Eleven partners from eight European countries and Canada.

2005-2008 ‘Integra, A European Composition and Performance Environment for Sharing Live Music Technologies’ (ref. 2005-0849). Total project value €1.2M, EU grant value €538,000. Thirteen partners from eight European countries and Canada.

Nordic Funding Bodies

2011 Integra 2011 Festival at the Royal Danish Academy of Music (B2011.0314). Nordiskkulturfond, €20,000.

2011 Integra 2011 Festival at the Royal Danish Academy of Music (ID PROD1002-4350). Kulturkontakt Nord, €30,000.

Advantage West Midlands

2004-2007 Music for Media project, grant value £400,000.

Birmingham City University

2010 IDEA URDF Accelerator Award, £3,500.

2010 IDEA URDF Equipment Award, £10,000.

2008 New Generation Arts, Integra 2008 International Festival and Conference, £30,000.

2003 Sound control, multi-channel diffusion and live electronics equipment for the Recital Hall, £40,000.

2001 Birmingham Conservatoire Digital Library Bid, £50,000.

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COMMISSIONS

2002 Original soundtrack for the documentary No risk no champagne by Italian filmmaker Enrica Colusso, Special Mention Festival dei Popoli, Florence 2002. Commissioned by Fandango Productions, Rome.

2000 Intercos, original music and interactive installation at COSMOPROF Bologna. Music and interaction design for a six-room interactive environment with audio and video events triggered by visitors through gesture-controlled sensors. Commissioned by AGON Acustica Informatica Musica, Milan.

1999 Novecento, electro-acoustic soundtrack for a series of sixty radio programmes on the
20th century. Commissioned by RAI RadioTre, Italian National Radio and first broadcast in 1999.

1998 Magma or The See-through Wilderness, opera. Joint commission of CIDIM (Italian National Music Committee), the Arturo Toscanini Foundation, Parma and the Teatro G. Rossini, Lugo di Ravenna, Italy.

1997 Antidotes: Red-earth for natural trumpet and live electronics, commissioned by Gabriele Cassone and Festival Milano Musica, Milan.

1996 Original music for the theatre play Il mio boss by Alain Reynaud-Fourton, directed by Carlo Alighiero. Teatro Manzoni, Rome.

1994-1995 Il racconto delle nuvole, The divine Claudius, Three Sephardi Melodies, Cinque Amori, four works for narrator, singer and ensemble commissioned by Nicola Campogrande and the Toujours Ensemble, Turin.

1995 Original soundtrack for the documentary Life after life by Italian filmmaker Enrica Colusso, Best Film Award at San Benedetto del Tronto 1997. Commissioned by the National Film and Television School, UK and Metafilm, Rome.

1993 Original soundtrack for the short fiction film Il sogno di Samuel by Italian director Paolo Santoni. Commissioned by Metafilm, Rome.

1992 Original soundtrack for the documentary Colombia Nuevo Mundo by Colombian director Mauricio Garcia Matamoros. Italo-Colombian co-production, Bogotá-Rome.

1990 Original soundtrack for the documentary Il pianeta blu by French director Xavier Barthélemy. Commissioned by ENEA, Rome.

1989 Original soundtrack for the short fiction film Echo Park by Italian director Guido Santi.

1987 Original soundtrack for the documentary Villa Gregoriana by Italian director Andrea Eleuteri.

1986 Original soundtrack for the fiction film Silentium by Italian director Giovanni Pedde.

1983 Stage music for La Mandragola by Niccolò Machiavelli, directed by Pino Quartullo, La Festa Mobile theatre company, Rome.

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AWARDS

2003-2008 river teach me, for soprano and string quartet, on a text by Zbigniew Herbert, selected for the SPNM shortlist (Society for the Promotion of New Music).

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REFEREED JOURNAL AND CONFERENCE PUBLICATIONS

Coccioli, L. (2020), ‘From culture to nature and back. A personal journey through the soundscapes of Colombia’. Journal of Sonic Studies, 19.

Di Donato, B., Dooley, J. and Coccioli, L. (2019), ‘HarpCI, Empowering Performers to Control and Transform Harp Sounds in Live Performance’. Contemporary Music Review, “The Twenty-First-Century Harp”, 38, 6: 667-686.

Bullock, J., Coccioli, L., Dooley, J. and Michailidis, T. (2013), ‘Live electronics in practice: Approaches to training professional performers’. Organised Sound, 18, 2:170-177.

Bullock, J. and Coccioli, L. (2009), ‘Towards a humane graphical user interface for live electronic music’, Proceedings of the New Interfaces for Musical Expression Conference, Pittsburgh, NIME.

Bullock, J., Frisk, H. and Coccioli, L. (2008) ‘Sustainability of live electronic music in the Integra project’, Proceedings of the Melecon IEEE Conference, Ajaccio, IEEE.

Coccioli, L. (2006), ‘A novel approach to music with live electronics’. Nordic Sounds, December 2006, 4:6-9.

Bullock, J. and Coccioli, L. (2006), ‘Modernising musical works involving Yamaha DX based synthesis: a case study’. Organised Sound, 11, 3:221-227.

Bullock, J. and Coccioli, L. (2005), ‘Modernising live electronics technology in the works of Jonathan Harvey’. Proceedings of the International Computer Music Conference, Barcelona, International Computer Music Association.

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INVITED TALKS, PRESENTATIONS AND WORKSHOPS

2019 Presentation at the AHRC UKRI UK-China Creative Industries Workshop, Shanghai.

2018 1-week Composition and Music Technology Course, Music Department, Pontificia Universidad Javeriana, Bogotá.

2018 Masterclass on Integra Live, Sichuan Conservatory of Music, Chengdu.

2017 Masterclass on Integra Live, Department of Music, Silpakorn University, Bangkok, Thailand.

2017 3-day workshop on Integra Live, Conservatorio Statale di Musica B. Marcello, Venice, Italy.

2016 ‘Composing with space’, lecture at the Tianjin Conservatory of Music, Tianjin, China.

2016 Integra Live workshop at the Zhejiang Conservatory of Music, Hangzhou, China.

2016 ‘Composing with space’, lecture at the National Taiwanese University of the Arts, Taipei, Taiwan.

2016 Presentation and workshop on Integra Live, Spectra Festival, University Teknologi Mara, Kuala Lumpur, Malaysia.

2016 Masterclass on live electronic music, Department of Music, Hanyang University, Seoul, South Korea.

2016 Composition masterclass at Seoul Arts High School, Seoul, South Korea.

2016 2-day workshop on Integra Live, Conservatorio Statale di Musica G. Verdi, Milan, Italy.

2015 2-day workshop on ‘Composing with live electronics: thinking music and technology together’, Conservatorio Statale di Musica G. Tartini, Trieste, Italy.

2015 Seminar ‘A new approach to composing music with live electronics’, Royal Academy of Music, London.

2015 ‘Composing with Space – Five Centuries of Spatial Awareness in Music’, part of the Pop-up Professors Lecture Series, Birmingham City University.

2015 Master classes on Integra Live and live electronics in three Colombian universities: Universidad de Los Andes, Bogotá; Universidad de Antioquia, Medellín; Universidad EAFIT, Medellín.

2014 Series of research seminars and presentations on Integra Live in Chinese music conservatories and universities: Wuhan Conservatory of Music, Wuhan University of Geosciences, Sichuan Conservatory of Music, Beijing Normal University, Beijing Central Conservatory of Music.

2014 Master class on my music and Integra Live, Stellenbosch University, South Africa.

2014 Master class on my music and live electronics, Universidade Federal da Paraíba, João Pessoa, Brazil.

2014 Series of research seminars on Integra Live in Brazilian universities with Jamie Bullock. Universidade de São Paulo, Universidade Estadual de Campinas, Universidade Federal da Paraíba, Universidade Federal de Juiz de Fora.

2013‘The future of higher music education’, invited talk at the International Music Conservatories Principals’ Forum, Wuhan Conservatory of Music, Wuhan.

2013 Master class on live electronic music, Sichuan Conservatory of Music, Chengdu.

2013 Master class ‘Integra Live’, composition and music technology workshops, Koninklijk Conservatorium, Brussels.

2013 Master class ‘Integra Live’, and composition and music technology workshops, Jazeps Vitols Latvian Academy of Music, Riga.

2013 ‘Beauty and the Beast: the Faustian Bargain between Music and Techne’, inaugural professorial lecture delivered on 26 February. Recital Hall, Birmingham Conservatoire.

2012 ‘Technology and the Performer’. invited talk at RESCON 2012, Birmingham City University.

2012 ‘Entrevista a Lamberto Coccioli’, interview published on Espacio Sonoro Revista de Música Actual, Taller Sonoro, Spain.

2012 ‘Challenges of international interdisciplinary research: The experience from the Integra projects’ Invited speaker at EPARM 2012 (European Platform for Artistic Research in Music), Association of European Conservatoires in collaboration with Academia Belgica and Conservatorio di Musica Santa Cecilia, Rome.

2012 Keynote speaker and roundtable panellist at the JomeX’12 (Jornadas de Música Electroacústica Mixta) Conference, Conservatorio Superior de Música Manuel Castillo, Seville.

2012 ‘Música y tecnología’, conference – concert part of the ‘Entender la música contemporanea – Que sais-je…?’ series, organised by Grup Instrumental de Valencia and the French Institute, Valencia.

2011 ‘Introducing Integra Live’, DMRN+6, Digital Music Research Network, Queen Mary’s University London.

2011 Composition and live electronic music masterclass, Department of Composition, Sichuan Conservatory of Music, Chengdu.

2011 Composition and live electronic music masterclass, Department of Modern Music, Xinghai Conservatory of Music, Guangzhou.

2011 ‘Introducing Integra Live’, Ateliers Forum Workshops, IRCAM, Centre Pompidou, Paris.

2011 ‘The Integra project’, presentation and live demonstration at the Annual Congress of the Association of European Conservatoires, Valencia.

2011 Co-ordinator and speaker, Integra Spanish National Workshop, Conservatorio ‘Joaquin Rodrigo’, Valencia.

2010 Composition masterclass, Faculty of Music, Central China Normal University, Wuhan.

2010 Composition and live electronic music masterclass, Department of Composition, Wuhan Conservatory of Music, Wuhan.

2010 Composition masterclass, Music Faculty, Sichuan Normal University, Chengdu.

2010 Invited speaker to the roundtable ‘Digital realities today: possibilities and limitations’. International Artist Managers’ Association (IAMA) Conference, Cité de la Musique, Paris.

2010 ‘The Integra project teams: Building bridges across cultures’. Presentation at the Workshop for Coordinators of Multiannual Projects. Education, Audiovisual and Culture Executive Agency, Brussels.

2009 ‘Simplicity, a new paradigm in designing user interfaces for music’, paper presented at RESCON09, Birmingham City University.

2008 Invited speaker to the M+T Incubator 3 The Future of Computer Music workshop, Centre for Interdisciplinary Research in Music Media Technology (CIRMMT), Schulich School of Music, McGill University, Montreal.

2008 ‘Why Integra?’, paper presented at the Integra 2008 International Festival and Conference, Birmingham Conservatoire.

2007 ‘Integra, a European Composition and Performance Environment for Sharing Live Music Technologies’. Presentation at the DMRN +2 Digital Music Research Network Workshop , Queen Mary, University of London.

2007 ‘Composing and performing with live electronics’. Presentation and live demo, INSIGHT Event, Birmingham Contemporary Music Group, CBSO Centre, Birmingham.

2007 Seminar on my music, Department of Music, University of Birmingham.

2007 Integra, a Composition and Performance Environment for Sharing Live Music Technologies’. Session III, Annual Congress of the Association of European Conservatoires, Strasbourg.

2006 ‘Music and Technology – Past, Present and Future’. Paper presented at the Music as Memory conference, ULTIMA Contemporary Music Festival, Oslo.

2006 ‘The Integra Project’. Presentation at the Ensemble Network Meeting, Copenhagen.

2006 ‘The music of Luigi Nono’. Panelist on Critical Voices 3, Sligo New Music Festival, Sligo.

2006 Invited Expert to Pioneer Business Ideas, the entrepreneurship programme of The Academy, NESTA, National Endowment for Science, Technology and the Arts, Glasgow.

2005 Presentation and demonstration of live electronics and the Integra project, Annual Congress of the Association of European Conservatoires, Birmingham.

2003 ‘Approaches to Music Education’, communication presented at the Conference on the Impact of Technology on Music, The Worshipful Company of Musicians, London.

2002 ‘Persistence of ritual elements in 20th century music. A composer’s view’. Paper presented at the Research Day 2002, Birmingham Conservatoire.

2001 ‘Performance and new technologies: Luciano Berio’s approach to live electronics’. Paper presented at the Research Day 2001, Birmingham Conservatoire.

1998 Co-ordinator of the workshop-conference Luciano Berio e la voce (Luciano Berio and the Voice) with Berio and Roberto Doati, including a talk on Berio’s vocal music and a public interview with the composer. RAI Studios, Florence.

1997 Co-ordinator of The Luciano Berio/Centro Tempo Reale Professional Training Workshop at Carnegie Hall with Luciano Berio and Giuseppe Di Giugno, Carnegie Hall, New York.

1997 Pre-Concert Lecture on works by Luciano Berio and Bruno Maderna, Carnegie Hall, New York.

1993 ‘Ruggero Giovannelli, musicista veliterno nella Roma del ’600’ (Ruggero Giovanelli, a Musician from Velletri in 17th Century’s Rome), part of a cycle of conferences on the history of Velletri organized by Velletri’s Culture Department and Municipal Library.

1992 ‘Immagini della musica nella Cappella di S. Aniceto in Palazzo Altemps’ (Images of Music in the Chapel of Saint Anicetus in the Altemps Palace), in collaboration with Marco Nocca, paper presented at the Convegno Internazionale di Studi su Ruggero Giovannelli, Fondazione G. Pierluigi da Palestrina, Palestrina, Italy.

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MUSIC AND TECHNOLOGY PROJECTS

2020 Direction of the New Interfaces for Musical Expression International Conference 2020, hosted virtually by Royal Birmingham Conservatoire and attended by 400 delegates from 34 countries.

2019 Direction of the AHRC-funded ‘Innovation in live performance: developing interactive technologies for opera and theatre productions’ project, in partnership with the Shanghai Conservatory of Music and the Shanghai Theatre Academy.

2018 Planning and direction of the annual International Relations Coordinators Meeting of the Association of European Conservatoires, hosted by Royal Birmingham Conservatoire in September 2018.

2018-2020 Direction of the software development team tasked with the porting of the Integra Live software to the JUCE platform.

2018-2021 Co-direction of NEXT, training programme in contemporary music performance in collaboration with BCMG (Birmingham Contemporary Music Group).

2011 Direction of Integra Festival, Royal Danish Academy of Music, Copenhagen, 27 September – 1 October 2011, featuring three new music ensembles from three Nordic countries, guest performers from France and Spain, six concerts, three world premieres, and a 1-day workshop on Integra Live.

2010 Live electronics for Revelación by Hilda Paredes. Integra Lab, Grup Instrumental de Valencia.

2008-2012 Project Manager of ‘Integra – Fusing Music and Technology’, a 3-year, €1.9M project funded by the Culture programme of the European Union and led by Birmingham Conservatoire with the following partners: Athelas Sinfonietta (Denmark); Bit20 Ensemble (Norway); CIRMMT, Schulich School of Music, McGill University (Canada); Ensemble Ars Nova (Sweden); Ensemble Court-circuit (France); IEM, University of Music and Performing Arts Graz (Austria); Grup Instrumental de Valencia (Spain); Malmö Academy of Music, Lund University (Sweden); Muzyka Centrum (Poland); NOTAM (Norway).

2008 Direction of Integra 2008 International Festival and Conference, Birmingham, 5-8 June 2008, featuring five new music ensembles from five European countries, seven concerts, three world premieres and an international conference.

2008 Co-ordination of the performance of Anthèmes 2 for violin and live electronics by Pierre Boulez with two Conservatoire students in the presence of the composer.

2008 Live electronics performer and sound engineer in L’amour de loin, opera by Kaija Saariaho. Den Nye Opera, Bergen.

2007 Live electronics performer in Book of Hours by Julian Anderson with the Toronto Symphony Orchestra, Toronto.

2006 Live electronics for One Movement and Five Miniatures for harpsichord, ensemble and live electronics by Johannes-Maria Staud, Birmingham Contemporary Music Group.

2005-2008 Project Manager of ‘Integra – A European Composition and Performance Environment for Sharing Live Music Technologies’, a 3-year, €1.2M project funded by the Culture 2000 programme of the European Union and led by Birmingham Conservatoire with the following partners: Athelas Sinfonietta (Denmark), Birmingham Contemporary Music Group (UK), Bit20 Ensemble (Norway), Ensemble Ars Nova (Sweden), Ensemble Court-circuit (France), IEM at the University of Music and Performing Arts Graz (Austria), Krakow Academy of Music (Poland), Lithuanian Academy of Music and Theatre, Malmö Academy of Music (Sweden), Muzyka Centrum (Poland), NOTAM (Norway). Sonic Arts Research Centre at Queen’s University Belfast (UK)
www.integralive.org

2005 Environment architecture and graphical user interface concept for Integra Live, a cross-platform open source software for composing and performing music with live electronics, Birmingham Conservatoire.

2005 Development of a live electronics performance environment for trombonist David Purser, Birmingham Conservatoire.

2004 Sound design, interaction design and programming for Book of Hours for ensemble and live electronics by Julian Anderson, winner of the 2006 Royal Philharmonic Society Award for large-scale composition, Birmingham Contemporary Music Group.

2002 Modernisation of the original electronic technology and performance of From Silence by Jonathan Harvey, for soprano, ensemble and live electronics, Birmingham Conservatoire.

1999 Project manager and co-ordinator of the music technology team during research, production and performance of Cronaca del luogo (Chronicle of the Place), musical action by Luciano Berio. Development of innovative 2D sound spatialisation techniques, live voice processing and remote control of sensor-triggered events. Inaugural event of the Salzburg Festival, Salzburg.

1999 Realisation of the electronic version of …sotto l’ombra che il bambino solleva (…under the shadow that the child is lifting), a poem for speaker-singer and orchestra by Azio Corghi on a text by José Saramago, part of the “Musica a due dimensioni” (Music on two dimensions) project by RAI RadioTre and ORT Orchestra della Toscana. Final version selected by the Prix Italia 1999, Florence.

1998 Project manager and co-ordinator of the music technology team for Ofanim by Luciano Berio at the Schleswig-Holstein Festival, Kiel.

1997 Project manager and co-ordinator of the music technology team for the American première of Ofanim by Luciano Berio, Carnegie Hall, New York.

1997 Opera e No: l’altro Ulisse di Luciano Berio (Opera and Not Opera: Berio’s Other Ulysses) television documentary co-authored with Piero Berengo Gardin on Luciano Berio and his opera Outis, produced by RAI Tre, duration 60 minutes. Selected by the 1998 Classique en Images Festival, Paris.

1996 Programming, sound projection, composition and live electronics performance in the musical action Outis by Luciano Berio, Teatro alla Scala, Milan.

1995 Composition, performance and musical supervision on the set of Le Affinità Elettive (The Elective Affinities), a movie by Paolo and Vittorio Taviani. FilmTre Productions, Rome.

1994 Structural and motivic analysis of Mozart’s Singspiel Zaide as a preparatory work for Vor, Während, Nach Zaide by Luciano Berio.

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PROFESSIONAL MEMBERSHIPS AND SERVICE

2020 General Co-Chair of the 2020 New Interfaces for Musical Expression International Conference, Birmingham.

2018 – current Peer reviewer for the FWF Austrian Science Fund.

2017 – current Member of the ICMC (International Computer Music Conference) Review Committee, Artistic and Scientific tracks

2017 Member of the SMC (Sound and Music Computing) Review Committee.

2014 Peer reviewer for NIME (New Interfaces for Musical Expression) Conference, London, Artistic track.

2013 – current Peer reviewer for the Arts and Humanities Research Council

2013 Member of the selection committee of the contemporary art exhibition Vuotociclo IV edition “Sankta Sango”, University “Suor Orsola Benincasa”, Naples, Italy.

2012 – current Life member, Birmingham Conservatoire Association.

2011 – current Expert evaluator for the European Union’s Culture Programme, EACEA, Brussels.

2011 – current Member of the Warwick Business School Alumni Association.

2010 – current Member of Net Impact, Warwick chapter.

2010 – current Member of the Sustainable MBA Network.

2009 Member of spnm’s (Society for the Promotion of New Music) selection panel for electronic music.

1981 – current Member of S.I.A.E., Società Italiana degli Autori ed Editori (Italian Society of Authors and Publishers).

2008 External evaluator, European Course for Musical Composition and Technologies (ECMCT), co-ordinated by IRCAM, Paris and funded by the Leonardo da Vinci programme of the European Union.

2007 External examiner, MPhil in Musical Composition, University of Birmingham.

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BIRMINGHAM CITY UNIVERSITY SERVICE

Current service at Royal Birmingham Conservatoire

  • Line management of the Head of Research, Head of Professional Development, Director of Learning and Participation, Head of Composition, Head of Jazz Studies, Head of Music Technology, Head of Technical Production, International Relations Manager and China Manager.
  • Member of the Management Committee, the Heads of Department Committee, the Scholarship and Bequest Committee, the Staff Research Committee and the Conservatoire Research Forum.
  • Deputising for the Principal
  • Director of the Integra Lab

2014 – 2017 Member of the Project Executive for the new Conservatoire building project

2012 – current Deputising for the Principal of Birmingham Conservatoire.

2012 – 2014 Member of the Conservatoire Relocation Team, tasked with overseeing the planning and the delivery of the project to relocate Birmingham Conservatoire as part of the Paradise Place redevelopment.

2012 Member of the Distinctive Provision Review, tasked with presenting a case to HEFCE for the 2012 review of institution-specific targeted allocations.

2011 PME Faculty Representative on the approval event for the MA Professional Media Practice

2010 – current Member of the Management Committee, Birmingham Conservatoire.

2010 – current Member of the Heads of Department Committee.

2010 – current Member of the Staff Research Committee, Birmingham Conservatoire.

2009 – current Director of the Integra Lab, Birmingham Conservatoire.

2009 – current Member of the Conservatoire Research Forum, Birmingham Conservatoire.

2009 – 2010 Member of the Conservatoire Review Panel, reporting to the Vice-Chancellor of Birmingham City University.

2009 ‘Recruitment And Selection Of Staff’ Training Course.

2008 – 2010 Member of the Management/Heads committee, Birmingham Conservatoire.

2007 – current Member of the Scholarship and Bequest Committee, Birmingham Conservatoire.

2003 – 2009 Director of the Centre for Composition and Performance with Technology, Birmingham Conservatoire.

2001-current Member of the interview panels to recruit new staff at the Conservatoire and the School of Acting.

2001 – 2008 Member of the Jury of the Millennium Prize Composition Competition, Birmingham Conservatoire.

2001 – 2006 Director of the Thallein Ensemble, Birmingham Conservatoire.

2001 IPR Reviewer Training Course.

2000 – 2009 Member of the Faculty Research Committee, Birmingham Conservatoire.

2000 – 2008 Member of the Executive Committee, Birmingham Conservatoire.

2000 – 2004 Member of the IT Standards Committee, Birmingham City University.

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COURSE DESIGN AND DEVELOPMENT

2018 NEXT, 1-year post-Master’s Professional Programme of Contemporary Music Performance, a joint training scheme between Royal Birmingham Conservatoire and BCMG (Birmingham Contemporary Music Group).

2009 MMus/PgDip Music Technology, Birmingham Conservatoire.

2008 BMus Music Technology, Birmingham Conservatoire.

2007 MA Digital Arts in Performance, Birmingham City University. Jointly delivered by the Birmingham Institute of Art and Design (BIAD) and Birmingham Conservatoire.

2001 BSc(Hons) Music Technology, Birmingham City University. Jointly delivered by the Faculty of Technology, Engineering and the Environment (TEE) and Birmingham Conservatoire.

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COURSES TAUGHT

One-to-one

2000 – current BMus and MMus Musical Composition, BMus and MMus Composition with Technology, BMus and MMus Music Technology, MA Digital Arts in Performance.

Class

2012 – current Music Technology Contexts (MMus)
2000 – 2008 Introduction to Music Technology, Techniques of Electronic Music, Performing with Technology, Music Technology Projects.

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RESEARCH SUPERVISION

2020 Niccolò Granieri (PhD scholarship), ‘Study and implementation of microgestures towards an expressive digital music environment’.

2020 Balandino Di Donato (PhD scholarship), ‘Empowering musicians through technology: a gesture-based interactive system to control and process audio and video in performance’.

2020 Johan Eriksson, ‘Automatonism: towards dynamic macro-structure in generative music for modular synthesisers’.

2020 Paul Taylor, ‘Abstractions of American Landscapes as a Catalyst for Composition’.

2019 Joe Wright, ‘Inclusive Musical Curiosity: Instruments for Young People with Autistic Spectrum Conditions’.

2018 Andrea Granitzio, ‘Soundscapes – stone and water in sound: a composition informed by the natural process of stalactite and stalagmite growth’.

2017 René Mogensen, ‘Typology of relations between acoustic instruments and electronics in concert music’.

2016 James Dooley, ‘The interplay between the performer, performance space and listener: research through composition on the relationship between sound and space’.

2016 Tychonas Michailidis (PhD scholarship), ‘3D Feedback: Methods and considerations on haptic feedback in live electronic music performances.’

2014 Sebastiano Dessanay (PhD scholarship), ‘Creative musical interpretation of some issues raised in Patrick Süskind’s play The Double Bass’.

2011 Carolina Noguera Palau (PhD scholarship), ‘Carnivalesque expressions in music composition. A Colombian perspective’.

2011 Nick Redfern, ‘Cloud Factory: A Cyclical Set of Works’.

2011 Paolo Boggio, ‘The Stained Glass Island, an Orchestral Triptych’.

2009 Jamie Bullock (PhD scholarship), ‘Implementing Audio Feature Extraction in Live Electronic Music’.

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NOTABLE FORMER STUDENTS

Javier Campaña Hervás (MMus). Composer and composition teacher at the Conservatory of Music in Seville, Spain.

Phil Dawson (BMus). Composer and Leverhulme scholar at the Royal Academy of Music.

Peter Maxwell Dixon (BMus). Founder of bassnote, a mobile recording company, and NESTA Fellow.

Alex Dromgoole aka Lexxx (BSc Music Tech). Sound engineer and music producer (Madonna, Björk, Gwen Stefani, Goldfrapp).

Chris McClelland (BMus, MMus). Researcher at the Sonic Arts Research Centre, Queen’s University Belfast and co-founder of Ecliptic Labs, a mobile user experience company in Belfast.

Andy Garbi (MMus). Composer, performer, artist and music lecturer.

Jonathan Green (BMus). Awarded a PhD studentship at BIAD and a NESTA Fellow.

Liz Johnson (PhD). Composer, composition lecturer at Birmingham Conservatoire and music workshop leader.

Genevieve Murphy (BMus). Postgraduate composition student at the Royal Conservatory of The Hague.

Douglas Oates aka Jim Moray (BMus). Composer, songwriter and performer. Winner of the BBC Radio2 Folk Album of the Year in 2003 with Sweet England.

Nicola Plant (MA DAP). Awarded a PhD studentship at the Interaction Media and Communication Group, Queen Mary University, London.

Chris Wilson (MMus). Composer and senior lecturer at the University of Derby.

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LANGUAGES

Italian (mother tongue), completely fluent in English, French and Spanish.

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TECHNOLOGY

Outstanding knowledge of music technology software for digital audio analysis, synthesis, recording, editing, sequencing and music notation.

Very good knowledge of digital audio hardware devices, including mixing desks, audio interfaces, samplers, multi-track recorders, DSP units, etc. and very good understanding of complex performance set-ups involving audio, video, MIDI, OSC, remote controllers, sensors, etc.

Outstanding knowledge of standard office software and very good knowledge of standard computer and web technologies.

Programming skills: MaxMSP object-oriented language, AppleScript, FileMaker scripting, MySQL, HTML, PHP, CSS.

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