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La Biennale di Venezia

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Biennale College – CIMM 2019

international masterclass in computer music and multimedia

Masterclass 11-17 November 2019

The Centro di Informatica Musicale e Multimediale (Center for Computer Music and Multimedia) of La Biennale di Venezia, directed by Ivan Fedele, aims to promote and support the many cultures of electronic music.
The CIMM’s projects for the year 2019 include a cycle of masterclasses to be held in Venice from November 11th to 16th 2019. The masterclasses will end on November 17th with a concert (programme to be announced) that is an integral part of the courses.

The project is addressed to young composers to be selected through an international call.
The masterclasses will include the participation of researchers, composers and artists from some of the most cutting-edge international computer music and multimedia studios.

The daily sessions will be divided into two learning sections:

            1) theoretical:  lectures by speakers on the state of the art and the applications of the research they are engaged in.
            2) practical: masterclasses and workshops, individual and in group sessions, with the selected young composers at the electronic music studios of La Biennale.

At the end of the course, the Director Ivan Fedele reserves the right to select a maximum of three participants who may receive a commission for the Biennale Musica 2020.


Applicants are required to fill out the registration form online in all its parts, and to attach the requested digital documentation (in Italian or in English):

  • a passport-size photo
  • curriculum vitae in pdf format
  • a letter of motivation
  • 2 scores with relative recordings of compositions for instruments and electronics, or 2 tracks of acousmatic compositions as well.

Incomplete applications will automatically be rejected.

The course will be held in Italian and in English. Fluency in both languages is required.
Participation in the project requires full attendance.
The deadline for receipt of the applications is October 5th 2019.

Registration form


Who the call is for
The call is addressed to young composers over age 18, who have not reached the age of 31 before the date of the call deadline. Applicants must possess a Diploma from a Conservatory, or be third-year students of a three-year programme.
The artistic director will select a maximum of 20 participants.

Every participant will be required to pay a registration fee in the amount of € 80.00 (VAT included, non refundable) that must be paid exclusively by credit card following the announcement of acceptance into the programme, and no later than the date to be announced.
All costs relative to the participation (travel, room and board, local transportation) will be paid by the participants.

Programme of lectures

GRAME (Lyon, France)
Yann Orlarey lecturer and professor
Theme: Presentation of the FAUST program - Electronic instruments and audio plug-ins design using the Faust language

Faust (Functional Audio Stream) is a functional programming language for sound synthesis and audio processing with a strong focus on the design of synthesizers, musical instruments, audio effects, etc. Faust targets high-performance signal processing applications and audio plug-ins for a variety of platforms and standards.
The core component of Faust is its compiler. It allows to "translate" any Faust digital signal processing (DSP) specification to a wide range of non-domain specific languages such as C++, C, JAVA, JavaScript, LLVM bit code, WebAssembly, etc. In this regard, Faust can be seen as an alternative to C++ but is much simpler and intuitive to learn.


CRM – Centro Ricerche Musicali (Rome, Italy)
Laura Bianchini and Michelangelo Lupone, lecturers and professors
Theme: Creation-Experience. Innovative forms in the art of music (Laura Bianchini)
Poetics and techniques of Feed-back for augmenting instruments (Michelangelo Lupone) - assistant, computer music specialist (Silvia Lanzalone)

The study of the characteristics that make matter vibrate and radiate acoustic energy is the subject of the artistic, scientific and expressive research conducted at the CRM in Rome, and is one of the aspects that the Centre's musical production of the converge towards. The analysis and vibrational control of matter have been deployed in two major applications: augmentation, understood as an extension of the acoustic and performance properties of traditional musical instruments, adaptivity, understood as the capacity of a musical composition to be transformed by the interaction with man, the environment and the passing of time (art installation, sculptural-musical work, distributed and collaborative work).
The workshop will include both a theoretical section and a practical section that will implement various systems of feedback finalized towards the creation of music.


IRCAM - Institut de Recherche e Coordination Acoustique/Musique
Frédéric Bevilacqua (head researcher) and Michelle Agnes Magalhaes (composer)
Theme: Presentation of the IRCAM’s research program on Sound-Movement Interaction & Collective Interaction

We are developing a generic platform for collaborative and collective interactions based on recent mobile and web technologies (projects CoSiMa, BeCoMe, CoMo/Elements). The applications include collective music performances, concerts with audience participation, collaborative games, dance or music pedagogy. Our web-based platform turns the smartphone in everybody’s pocket into a tool to create novel paradigms for collective music listening, performing and composing.


CSC - Centro di Sonologia Computazionale of the University of Padua and SaMPL of the Conservatorio “C. Pollini” in Padua.
Alvise Vidolin and Luca Richelli, lecturers and professors
Theme: Extensions of gesture. Workshop for composing and developing Live Electronics using Motion Capture techniques

The musical repertory that uses Live Electronics techniques is constantly expanding thanks to the interest of composers, to the rise of new generations of electronic performers, to the development of scientific and technological research studies finalized towards the design of new instruments that satisfy the composition and performance needs of this sector of contemporary music. The many experiences that characterize this repertory not only have offered history countless musical works of great prestige, they have also highlighted the problematics of the interaction between traditional performers (voice and instruments) and electronic performers (live electronics and sound direction) caused by the separation of roles, which often leads to a consideration of the traditional musician as a simple generator of sounds at the service of electronic elaboration. The result is the division of the musical gesture into two independent actions that require far greater rehearsal times and affinity than those allowed by contemporary music practices. However, this separation makes it difficult to achieve expressive gestures comparable to the traditional ones. For example, it would be like playing a violin, with two different people at the bow and the fingerboard.


Andrew Quinn lecturer and professor
Theme: TouchDesigner - Audio reactive visual, Videomapping and Interactive LED

TouchDesigner is an intuitive node based software for the production of real time audio reactive graphics for musicians who wish to compose visuals as counterpoint to their music. It can render accurate 3d for video mapping and also output audio reactive pixel mapping to LEDs via dmx. It communicates with audio software via MIDI, OSC or via direct link with ableton live to allow perfect sync with audio, or can analyse an audio feed. It is the ideal tool for musicians who see and hear their music, ideally suited for performance with keyboards, MIDI controllers, sensors or tracking devices: link to music software of choice, or simply take a live feed from orchestra or ensemble.


EMA (Estonian Academy of Music and Theatre)  To be confirmed
Paolo Girol lecturer and professor, director of the Department of Composition and Improvisational Performing Arts
Theme: AudioVisual Composition

The Composition and Music Technology curriculum, at the Department of Composition and Improvisational Performing Arts at the the Estonian Academy of Music and Theatre, hosts the speciality of AudioVisual Composition. This speciality aims to integrate the innovative world of visual art into musical thinking; students are guided through studies on traditional and electronic music, history and the visual arts. Painting, photography and animation are treated in terms of musical parameters and should be seen as an extension of sound art and compositional approaches. The curriculum includes many subjects from other fields of art: students can learn about editing, film semiotics, colour theory, etc. Due to the interdisciplinary nature of the curricula, the composition programme collaborates with National and International entities. Creative outcome of the AudioVisual Composition speciality attracted the attention of several academic and cultural operators in the last years, such as ZKM in Karlsruhe (Germany), IRCAM in Paris (France), INTERFACES network in Leicester (UK), and others.


These activities have been made possible by the support of SIAE – Società Italiana Autori ed Editori.

The programme may be subject to change.

For further information:

Biennale Musica
Biennale Musica