Daniel Teruggi: Do we need new machines to make new music? - a podcast by ZKM | Zentrum für Kunst und Medien Karlsruhe

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.

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