- Gestart in
- Type musicus
- Antwerp University
Daniela Fantechi (1984) was born in Florence, Italy. She studied Composition at Conservatory Luigi Cherubini of Florence, with Paolo Furlani and Rosario Mirigliano and at Kunstuniversität in Graz, with Beat Furrer, Clemens Gadenstätter and Georg Friedrich Haas. She has attended several master classes and summer courses, such as Internationale Ferienkurse für Neue Musik, Impuls and Acanthes, headed by Helmut Lachenmann, Beat Furrer, Toshio Hosokawa, Mark Andre, Stefano Gervasoni, Mauro Lanza, Francesco Filidei, etc. She also graduated with first-class honours in Master of Musicology at University of Florence in 2009, and she specialized in Pedagogy and Music, with the course Musica Bambina, in Pisa. Since 2010, she is founder and member of Blutwurst, a collective of musicians, focused on the electro-acoustic exploration of unisons and drones. Her compositions have been performed in Italy at Tempo Reale Festival (Florence), Play it (Florence), Mixxer (Ferrara), Atlante Sonoro (Roma), in Austria (Graz, Wien, Altbach), at Do Audible 2016, in Spain (Orense), in England with Rarescale (London). She was in Vienna (January-March 2016) for the Artist-in Residence Programm, supported by Kultur Kontakt, Österreich; and in Graz (February-April 2017) for the StyriaArtist-in Residence Programm, supported by Land Steiermark, Österreich.
My research concerns the composition of instrumental music implemented with a specific use of contact-piezo microphones. Piezo microphones are low cost and low fidelity microphones that can be easily used to disclose and amplify sounds coming from instruments. The development of a peculiar use of this technology will be oriented to emphasize concrete aspects of instrumental sound and to work on the coexistence of traditional and unconventional sounds. The low-fidelity quality of these microphones will allow to highlight interesting aspects of proximity of sounds. The consequent and peculiar attention to the details of sound will lead to a closer way of listening. The choice of the piezo microphones represents also an unconventional approach to the electronics: the composer can easily build his/her own piezo microphones, according to the specific needs of each piece.
May 22-23, 2019
This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.