FLOATING SOUND GALLERY

Vienna

Vincenzo Procino

photo (c) Sara Zlanabitnig

I am an acousmatic composer and electroacoustic improviser, and the founder of the Silence Acousmatic Music Festival. My work—ranging from acousmatic compositions and electroacoustic improvisations (solo and duo) to sound installations—has been featured in festivals across the USA, France, Cuba, the UK, Japan, and Italy.
One of my pieces was selected through the Call for Works by CEMAT in 2005 and included on the second CD of their New Electroacoustic Music series (CEMAT – Auditorium Edizioni, 2005–2006). Another was published in the journal Organized Sound (2019).
I have released three CDs of acousmatic music (on Creative Sources Recordings, Portugal, and Haze Auditorium, Italy), four duo albums of electroacoustic improvisation with Gianni Lenoci (ASC, UK; Ants and Setola di Maiale, Italy), and one with Michele Lomuto (Tecnopolis, Italy).
My written work includes a contribution on John Cage in the collective volume John Cage. A Hundred Years Revolution (edited by G. Fronzi), an article on remix in acousmatic music in Organized Sound (Cambridge University Press, Vol. 24, No. 2, 2019), and the book Acusmatica. Un’arte sonora (Acousmatic: A Sound Art).
I have led workshops based on a Cagean approach to improvisation at the Conservatories of Bari, Lecce, and Monopoli, and—through the Erasmus program—at the Conservatory of Dance and Music in Châtenay-Malabry (France).
I have given lectures on the history of acousmatic music in Italy at the University of the Arts in Osaka and the Conservatoire à Rayonnement Régional de Paris.
In 2005, I founded the M. are. acusmonium and the Silence festival in Bari, in collaboration with J. Prager. In 2014, I established the Silence Space at the Cittadella Mediterranea della Scienza (Bari), a venue that permanently houses the acusmonium and the festival, and where educational activities in sound art are offered to visiting students.
In the 1990s, I developed graphic interfaces for experimental digital synthesizers and Italy’s first digital sound cards (presented at the Music Informatics Colloquiums in Rome and Bologna), and researched the compositional potential of logical programming (International Colloquium “Musical Structures, Informatic Structures,” Marseille).
In the 1980s, I attended computer music courses at the Centro di Sonologia Computazionale, University of Padua. After 2000, I studied the pedagogy of acousmatic composition—within the tradition of musique concrète—with Denis Dufour.

I currently teach electroacoustic music composition at the Conservatory.