Daniel Teruggi: Do we need new machines to make new music?

Old Machines for New Music | Symposium


Sat, 12/01/2012


Since the beginning of electroacoustic music at the end of the
forties, there has
been a continuous need for new machines. New machines meant and
mean
new possibilities and new trends for music. Machines tend to
loose interest
once they are mastered or have served several times. However,
after a certain
period of time, interest seems to regain on them and new
compositions are
done. Where is the interest, what has changed with time? How do
mental
structures adapt to new environments?


Born in Argentina in 1952, he has developed his professional
career in France, where
he lives since 1977. Composer and researcher, he works since 1981
in the Ina (National
Audiovisual Institute) in Paris, in the GRM (Musical Research
Group, founded by Pierre
Schaeffer en 1958). He has been the Director of the GRM since
1997 as well as director
or the Research department in Ina since 2001. Since 2008 he is
co-directing Ina’s new
department, Ina Sup, dedicated to audiovisual and multimedia
education, training and
research.
He has composed nearly 80 works, mainly for the concert and
always using electroacoustic
devices with or without acoustic instruments. He is the author of
numerous
research articles related to sound and musical perception as well
as musical analysis.
In recent years he has been actively working on the preservation
of audiovisual collections
and particularly the case of electroacoustic music, where content
and container are
strongly linked and where the traditional models of conservation
are not effective. He
has been the coordinator of the FP6 European project
PrestoSpace.
Actually coordinating the FP7 European project PrestoPRIME and
participant in the Europeana project.
He is founding member of the Electroacoustic Musical Studies
network, in charge of an
annual conference on electroacoustic music analysis.