Musica in forma 09
31 March 2009 - 05 April 2009
CRM-Centro Ricerche Musicali
in collaboration with Federazione CEMAT
Roma, Ara Pacis Museum
Lungotevere in Augusta (via di Ripetta entrance)
March 31 - April 5, 2009
for the public until the closing of the Museum from 9 am to 7 pm
April 5, 2009 - 11 am
Meet & Greet with the artists
MUSICA IN FORMA
Adaptive art sound installation by composer MICHELANGELO LUPONE and visual artist LICIA GALIZIA
realized by CRM - Centro Ricerche Musicali
Research supported by
MINISTERO DELL’ISTRUZIONE DELL’UNIVERSITÀ E DELLA RICERCA - AFAM
Departement of Music and New Technologies Conservatory "A. Casella" in L’Aquila
Artistic production: Laura Bianchini
Artistic assistants: Walter CIANCIUSI, Slvia LANZALONE, Carlo LAURENZI, Beatrice LASIO, Emanuela MENTUCCIA
Research supported by
MINISTERO DELL’ISTRUZIONE DELL’UNIVERSITÀ E DELLA RICERCA - AFAM
Departement of Music and New Technologies Conservatory "A. Casella" in L’Aquila
Artistic production: Laura Bianchini
Artistic assistants: Walter CIANCIUSI, Slvia LANZALONE, Carlo LAURENZI, Beatrice LASIO, Emanuela MENTUCCIA
Musica in forma is an art sound installation created by composer Michelangelo Lupone and visual artist Licia Galizia on the invitation of the Italian Cultural Institute in Belgrade, where it was presented for the first time in public at the Institute on 3 April 2008.
Art sound installations are structures which integrate music with plastic and visual elements and relate the auditory perception of the visitor to the architectural space. They represent an innovation in contemporary artistic language, since they offer a combined experience of music and its environment; they induce a correlated awareness of the senses so as to stimulate first the intuitive faculty and then the active and cognitive participation of the listener.
The installation Musica in forma consists of four large structures and based on the innovative Planephone® technology perfected by CRM in Rome.
Planephones® are resonant systems consisting of panels of various materials – wood, copper, iron – which diffuse the sound with characteristics that depend on the structure of the material, on the geometry of the design, on the alignment and curvature of the surfaces, on the plastic volumes.
The four structures are capable of complementing each other through interaction with the public and can also be made to suit environmental conditions.
The active participation of the public is essential for the performance of the installation as the actions of the visitors are decisive both for the changes in the sculptural forms and for the modulations of the music.
The distinctive characteristics of the installation, the correlation between expressive exigencies and technological options, have called for an interdisciplinary research involving not only the two authors, but also a staff of three musicians, an architect, a physicist and two engineers for the algorithmic control section as well as an engineer for the control of the sensing devices and an engineer for the audio section.
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