Angelo Petronella (1952) began his music career studying percussion and subsequently piano and composition with teachers of the Academy of Music in Perugia. Later he studied electronic music at the same Academy. He studied Philosophy at the University of Perugia. In Milan he attended courses in computer music at the Computer Science Department of the Polytechnic and took the diploma of Electronic Music. He has been involved in setting up various organizations for producing and promoting electronic music and has worked as a teacher of electronic and acousmatic music with public and private bodies. He has held workshops on the relationship between space and sound at the Faculty of Architecture in Milan. He has given concerts as sound-designer and mixer performer, playing his own works, and has created sound art works (interactive or not). Selected works Concerts/performances 2012 - “Abitare il tempo/B.go Loreto, Cremona”, B.goLoreto/CRAC, Cremona 2011 - “Headscape”, O’ Gallery, Milan, Italy 2009 - “Rimandi e scoperte”, O’ Gallery, Milan, Italy 2009 - “Due piani”, Sala Silentium, Bologna, Italy 1996 - “Nel flusso dei luoghi e delle appartenenze”, Festival of Contemporary Music, Teramo, Italy 1983 - “Concerto per suono e immagine”, InTeatro, Polverigi, Italy 1981 - Performance with Giuseppe Chiari, Perugia Suoni, Perugia, Italy Sound Installations and multimedia works 2012 - “Sonaglio elettroacustico”, Verapietraserena Gallery, Florence, Italy 2011 - “Abitare il tempo”, sound installation&performance, O’ Gallery, Milan, Italy 2011 - “Moving and recombining”, Morley Gallery, London, UK 2011 - “via Ricotti 1”, sound installation&performance, private flate, Milan, Italy 2009 - “Starting from breath-Ein Hod version”, Ecosfera, Ein Hod, Israel 2008 - “Starting from breath”, Triennial, Prague, Czech Republic 2007 - “Per connessioni”, Dissonanze, Rome, Italy 2004 - “Orfeo e Euridice”, Transmediale, Berlin, Germany 2003 - “Viaggio sulla Terra”, with Gabriele Di Matteo, Frac Bretagne, France 1999 - “USDV”, Galleria Facsimile, Milan, Italy 1996 - “Maurizio”, with Sabrina Muzi, Futur Show, Bologna, Italy 1995 - “Tip-Tap”, ex O.P. Paolo Pini, Milan, Italy 1993 - “Wurmkos 1”, Carmarthen, Wales 1992 - “Control room”, Via Farini Gallery, Milan, Italy 1992 - “Rosso”, Centro Bligny, Milan, Italy 1988 - “Huis clos”, Danza e Dintorni, Milan, Italy 1986 - “Oplontide”, Danza e Dintorni, Milan, Italy Published CDs 2010 - “Rimandi e scoperte”, Die Schachtel 2006 - “Sintesi da un diario”, Die Schachtel 2005 - “Insiememusicadiversa”, Die Schachtel
“Moving and recombining” is made of a number of interactive devices I designed. The peculiar elements of each device are a digital recorder and a photoelectric cell which triggers the operation; the generated signal goes out through an amplifier and a loudspeaker. The recorder can capture an audio sequence of about 30 seconds which is executed when the photocell is sufficiently enlightened and endures, repeating itself, until the amount of light is sufficient for the photocell. The sound boxes can be triggered by the public, for example by lighting a torch or small bulbs while walking on a footboard, but in this case all the devices work by means of a fixed light that enable their sequence that will last, starting again about every thirty seconds, until the light will be switched off. The audio sequence present in the recorder can be changed an unlimited number of times so that the public could listen to different sound quality each time the system is installed. In this case a sound sequence is obtained modifying a human voice; each sound sequence has a different duration and a slight different pitch. In this way you can hear the sound that moves on the surface on which the sound boxes are placed, varying slightly its pitch.
Abitare il tempo An installation/performance I have been building my latest compositions to be heard both as a stereo audio file and a multichannel sound installation. In the first case the position of sounds in the space and their shifting is obtained by means of the stereophonic image; in the second case the listening is immersive and the piece of music can be experienced by moving in the space (so that the sonic perspective is mobile and the work is "explored") or standing still (that is to say from a fixed perspective). Thinking up a piece of music and a sound installation was useful because it has opened up new prospects for the one and the other. I have always presented different ways to experience my sound installations. On the other hand, while creating my compositions I always remember the sound dimension of real places, from which I derive some compositional parameters, such as, for example, the depth of field, the position in the space, a way of combining timbres. I point out that my pieces do not present field recordings and therefore the sounds I use are all electronic, even if the source is a concrete material; they are constructed considering the relation among them and the way they create a sonic space.
Shopping centres, service stations, bar and restaurants - we go to these places nearly every day – utter sounds (music, news, advertising, etc.) in a “middle” way: an unvaried volume, avoiding too high and too low frequencies. On the other hand a more differentiated listening is not allowed by the type of loudspeakers which are utilized. In conclusion, most of the places we go to, we listen to sounds which do not fill all the possibilities of our hearing, either because of loudspeakers or because of the characteristics of the sound material itself. This happens even if the technology at our disposal could allow us to produce and utter the whole range of audible frequencies. Here you can see a project concerning the preparation of a listening room where the whole range of sound frequencies can be heard. The listening room contains loudspeakers which utter only a portion of the sound frequencies. Therefore there are 4 groups of loudspeakers and each of them utters a range of frequencies (high-very high, middle-high, middle-low, low-very low). I shall use self-made deadening panels in order to control the sound reflection in the room. The best placement of “Cheap Auditorium” is in a room without loud sounds in the vicinity.
“Starting from breath” is an interactive installation made up of 36 sound boxes and a footboard which has 36 sensitive points. When the public tread on a sensitive point the corresponding sound box utters a sound sequence which plays continuously as long as the public dwell on the sensitive point.
"Per connessioni” (For connections) was the second occasion ( the first one was in the acousmatic music festival “Silence”, in Bari ) on which I have presented an interactive device I designed; it has been produced by Control System 2, an italian company that manufactures electronic equipment. The peculiar elements of the device are a digital recorder and a photoelectric cell which triggers the operation; the generated signal goes out through an amplifier and a loudspeaker. The recorder can capture an audio sequence of about 30 seconds which is executed when the photocell is sufficiently enlightened and endures, repeating itself, until the amount of light is sufficient. The public, by lighting a torch or small bulbs while walking on a footboard, enable the sequence that will last, starting again about every thirty seconds, until the torch will be switched off or there will be a moving from the sensitive point of the footboard. The device looks like a small box (7x6x10 cm) with a loudspeaker; usually the device is not presented separately but in a group of 36 and each device can utter a different sound sequence. The audio sequence present in the recorder can be changed an unlimited number of times so that the public can listen to different sound quality each time the system, consisting of 36 sound boxes, is installed. The system, with its 36 points of sound utterance and its interactivity, can be considered as a particular musical instrument that anyone is able to play.
“Maurizio” is an interactive installation. A television camera is connected to a computer. The television camera frames a square footboard. When the public tread on the footboard, the tvcamera notices the point where they are and transmit it to the computer, which projects an image on a screen and utters a sound by means of loudspeakers. The surface of the footboard is divided into 16 points; each of them projects an image and utters a sound. The images are a mixture of blobs of colour, derived from a human body, and people on the footboard at that very instant; the loudspeakers utter sounds of breathing or of mechanism. In the photographs some dancers make a performance, interacting with the sounds.
When the public go on the lawn it swings and utters sounds. Under the lawn there are three boxes containing objects. When the lawn swings the objects make fixed movements producing many kinds of sound. The sound is captured by three microphones and uttered by eight loudspeakers, placed in the pit under the lawn. The work is the result of a public art project commissioned by the former psychiatric hospital Paolo Pini of Milan and was made after a workshop, which lasted six months, with some users of hospital P. Pini, now working as day hospital and reference center for psychological problems.
An inclined plane (about m 10x10), made of little red lights, is in front of a parallelepiped. A way through the inclined plane leads to the parallelepiped. Inside, a fabric-made cylinder hides 4 powerful loudspeakers (w 250 each one), which are placed in the corners of the parallelepiped. A projector (w 2000) diffuses red light in the cylinder and over the surrounding sphere. The place is saturated with red light. The music is fairly ecstatic and the feeling is stronger within the cylinder.
"Control Room" is an installation-performance which refers to some forms of control exercised by the powers that be. At the entrance of the Via Farini gallery, in Milan, was shown a giant poster depicting a control room. Within the space an expert gave a videotaped report, on international intelligence operations and the presence in the institutions of Freemasonry.AscoltaTrascrizione fonetica Four objects-sculptures were hung on a wall, as if they were searching presences. Four portable players, equipped with loudspeakers, were set on another wall, reproducing all the time readings of "American Football" by Harold Pinter. Two powerful speakers were hung from two opposite corners, just below the ceiling of the large room. When the performance began a couple of performers mimicked the gestures of searches typically conducted by the police, moving among the audience. Meanwhile, another performer, using a long rope and a series of hooks on the walls, slowly was weaving a web that divided the public and forced him into tight spaces. Throughout the performance - which lasted about half an hour - a sound stream, which consisted mainly of high frequencies at high volume, has been saturating the entire space.
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