He is a composer and researcher based in L'Aquila (Italy). He has been a member of many computer music groups in Italy, including csc (University of Padua), crm (Rome) and lms (University of L'Aquila). He was recently appointed to the Board of Directors of aimi (the Italian Association for Musical Informatics). He was a Visiting Composer at the Simon Fraser University in Vancouver (1993) and the Sibelius Academy in Helsinki (1995). He teaches electroacoustic music at the Conservatory of Bari. His music, though universally hailed as radically experimental, has been performed in many countries in Europe, the United States and Asia. His pieces have won awards at the International Electroacoustic Music Competition in Bourges (1991) and at the Ars Electronica' in Linz (1995). His writings have been published in several journals, including Contemporary Music Review (uk), Journal of New Music Research (nl), and Perspectives of New Music (usa).
Selected works: Voci Antiche Ninnanti for children's choir (or female choir) and tape (1985), Punti di tempo for tape (1987-88), Fractus for viola and tape (1990), Plex for double-bass and tape (1991), Essai du vide. Schweigen (1993), Some strings quiet, some strings cry for harp and tape (1993), Texture-Multiple for violin, cello, flute, clarinet, piano, vibraphone and computer processing (1993-2002), 6 studi for piano solo (1995), Sound & Fury - theatre of noise, sounds, and sometime voices' for 2 actors, 2 percussionists, multitrack tape, interactive system, slide projection (based on excerpts from Shakespeare's The Tempest. Original text by Eugenio Tescione) (1995-98), Ektopos for guitar solo (or several guitars in unison) (1997), Caliban, all'uditorio futuro for voice, 1 or 2 percussionists and tape (1997), Paesaggio scalare No. 1 (co-author: Michael Rusenberg, 1998), 5 interazioni cicliche alle differenze sensibili for string quartet and interactive computer processing (1998), Natura allo specchio for 2 percussionists, tape and interactive computer processing (1998-2000), Paesaggio scalare No. 2 for tape (2000), Tiresia - poetry reading with electronic sound (text by Giuliano Mesa) (2000-2001), Senza titolo - sintesi del suono, Ottobre 2001 for tape (2001), Per la meccanica dei flauti for flute and interactive computer processing (2001-...), Os, Oris for trombone and interactive computer processing (2002), Craquelure - a Giuliano for tape (2002).

Os, oris (schizzi dell'aria che manca). It is often the case that programme notes to new compositions (especially trombone music!) are more interesting than the music itself... This (I promise) will be an exception. I have nothing to say right away, as the making of this music is still in progress. However, I may provide the listener with a plain translation of the title: the main title is Latin for mouth, of mouth' (this is oral' music...), and the subtitle means something like sketches of the air that is missing' (i. e.: not just more gas, more music, more expression, more anything, but only few hisses and blots of air which may be somehow necessary to some of us to keep breathing). As another piece of information to the listener, I would just add that this is probably the only music where trombone and computer are so tightly intertwined as to converge and become a single noise-generating system' (a gathering of tools and devices in some mutual, ecological' interaction between them). In this sense, this is really a duo', not a composition for trombone plus some electronic effects'. The piece is dedicated to Maestro Lomuto, who solicited and inspired the work, and to his computer music assistant, Francesco Scagliola, who - as a performer - should be deemed equally responsible for what comes to your ears and mind.

Agostino Di Scipio