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Tempo Reale - Villa Strozzi - Via Pisana 77 50143 Firenze
Scientific & Music Program May 20-22 2011



Lelio CAMILLERI Rethinking Acoustic Design

The soundscape surrounding us has changed in significant way due to many aspects. We are surrounded by many different kinds of noise, many sounds have changed their meaning in our culture and the sounding environment around us can be in certain ways manipulated.
Our sounding environment is changed due to the introduction of many kinds of different noise/sound, i.e, the ringtones of mobile sounds, which saturate our acoustic world but get us used to a complex sounding texture. It is also true that several kinds of music we listen to contain a significant quantity of noisy sounds, some genres are made up with glitches and noise sounds only.
Another aspect in the development of the soundscape is the change of meaning of some sounds in our conceptual frame: for example, the sound of the bell, symbol of the religious power, now marks the quiet places, the one where one can hear that sound.
The music listening portable devices, ipod and the like, have an important impact in the re-desing our relationship to the surrounding soundscape. Listening to the music while walking on the street changes our perception of the environment, partially excluding the actual soundscape and imposing to landscape a new sound world.
Another feature to add to these facets is a continuous division between sound and source, both in respect to visibility and sounding coherence, i.e. a sound which is not assignable to that source. This aspect is defined schizophony by Schafer.
Taking into account these facets, acoustic design has to be reconsidered starting from a new noise / sound relationship. The concept of background noise has to be weighed in a new way based on its spectromorphological qualities attached to our actual cognitive noise/sound relationship . Furthermore, we have to shift from acoustic design, assigning a negative meaning to schizophony, to sonic design, implying the modeling of spectromorphological qualities and the use of recorded sounds.
Sonic design also implies the modeling of our sound world from micro (single sound signal like mobile ring tones) to macro (sound fitting of medium/large spaces), also including noise quality sounds employed for their sounding coherence with the environment. Sounding coherence can be an important notion on which the sonic design is organized by the relationship s of the spectromorphological attributes and not by the abstract concepts concerning the opposition noise/sound.
In the presentation, these concepts will be discussed and some examples will be shown.

Lelio Camilleri was born in Rome, 1957.
He is Professor of Electronic Music at the Conservatory of Music G.B. Martini, Bologna.
He also teaches Digital Music at the Master in Multimedia and the program in Theories of Communication of the University of Florence.
His compositional output is mainly electroacoustic. His works have been performed in Europe, North America, South America, Australia, and New Zealand, broadcast by the Italian, Belgian, Australian and Argentine Radios and received national and international awards. He received several commissions, among them the RAI Orchestra Sinfonica Nazionale and INA/GRM.
Three of his works are available on CD.
His research work concerns with the analysis of electroacustic music and the sonic communication in the various multimedia contexts. He has presented his research in several international conferences, lectures and publications. De
He realized the music and the sound design for the interactive multimedia installation POINT AT, placed in the Sala di Lorenzo, Palazzo Medici Riccardi, Firenze.
His book Il Peso del Suono (Apogeo, Milan) was published in 2005.

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