AKOYSMATA, ειναι το σύνολο των εκδηλώσεων που παρουσιάζει κάθε χρόνο το Εργαστήριο Ηλεκτροακουστικής Μουσικής Έρευνας και Εφαρμογών [ΕΡΗΜΕΕ] σε συνεργασία με το Εργαστήριο Παραστατικών Περιβαλλόντων στις Τέχνες [PEARL] στο Φεστιβάλ Οπτικοακουστικών Τεχνών του Τμήματος Τεχνών Ήχου και Εικόνας του Ιονίου Πανεπιστημίου

Το προγραμμα περιλαμβανει έργα του συνθέτη και Καθηγητή Lelio Camilleri και έργα φοιτητών του Florence Music Conservatory L. Cherubini.

Lelio Camilleri (επιμέλεια)
Sara Montagni, Leonardo Panni, Giulia Franchino,
Luca Mucci, Cesare Cotronei

Lelio Camilleri - ARRIVALS/DEPARTURES (2021) - stereo
Sara Montagni – C.R.A.C. (2022) - stereo
Leonardo Panni - ACCORDION STUDIES (II OF VII) (2025) - stereo Giulia Franchino – PANNICHYS (2024) - stereo
Luca Mucci – UNEVEN TIDE (2025) - stereo 
Cesare Cotronei – IL TRAMONTO (2024) - stereo Lelio Camilleri – BEAT (2024) – 8 channels

ARRIVALS/DEPARTURES (2021) is based on recordings made at certain airports, in particular announcements, and other material recorded during a flight. In addition to the spectromorphological richness of the different sound events, I was interested in this type of material because it represents the journey, a particular moment in every person's life. The structure of the piece is also based on the metaphor of the journey, with a continuous shift between sound worlds based on untransformed sounds from the airport environment and more abstract sound textures based on transformed sounds, whose connection to the initial sound source is no longer perceptible. Arrivals/Departures was commissioned for the GMB50 festival, a series of events and concerts held in October 2021 to celebrate the 50th anniversary of the School of Electronic Music of the G.B. Martini Conservatory in Bologna. The piece symbolically represents the end of my long teaching experience at the Bologna Conservatory and the move to the L. Cherubini Conservatory of Music in Florence. Another journey. The piece was realised at the Tempo Reale centre in Florence.

C.R.A.C. (2022)
The piece is constructed from recordings of broken wood and trampled ice; the two basic materials were then manipulated to create this acoustic experience, in which the sound of broken wood, with its organic nature and fragility, merges with trampled ice, evoking coldness and solidity. Through a combination of editing techniques and sound manipulation, the original recordings are edited to reveal their deeper, exploratory qualities.

ACCORDION STUDIES (II OF VII) (2025) is an electroacoustic piece that fuses accordion with synthetic sound textures through contrasts between lyrical and experimental sections, celebrating the encounter between an instrument still too chained to the popular sphere and electronic sounds.

PANNYCHIS (2024)
The composition, which takes its title from Sappho's fragment No. 30 Voigt, is a sound exploration that focuses on the vocality and musical facets of an archaic language. As if in a gesture of oral transmission of a knowledge and as if to give voice back to the poetess through a voice belonging to another body, Pannychis traverses the nocturnal culticity of the thiassus, reproposing three fragments from Sappho's repertoire.

UNEVEN TIDE (2025)
The work explores a temporal antithesis in phrasing, overlapping and concatenating streams of 'sound tide' in which stasis and movement coexist in tension. Like the tides, sound follows gravitational attractions on precise trajectories and velocities, but the irregularity of the flow makes the attractors unfathomable. From this "tide" emerges the dualism between the inner perception of time and its objective duration.

IL TRAMONTO (2024). 
In Florence, on the night of May 27, 1993, what is remembered as the Via dei Georgofili massacre took place, in which one of the victims was little Nadia Nencioni, only 9 years old, who in the days before wrote for a school assignment the poem “Sunset,” which became a symbol of the fight against the Mafia. The piece, which takes up the same title, through the words of the poem traces that night and the days that followed, which remain to this day an open wound not only for Florence but for the whole of Italy. The poem is read by Claudia Meacci.

BEAT (2024) is a piece that relies exclusively on sounds produced by drums. In many tracks of the post-acousmatic phase, the idea of a regular rhythmic pulse returns, albeit in di????erent contexts. I believe that electroacoustic music has to go beyond the recovery of a regular metre, this track wants to challenge this approach. Another characteristic of the piece is the continuous oscillation between structures based on the original sound sources of the piece and others formed by increasingly remote transformations.

I would like to thank Lorenzo Milani, for his assistance during the recording of the various drum sounds and sound sequences at the L. Cherubini Conservatory of Music, to whom my thanks go. I would also like to thank Giovanni Magaglio for his assistance during the work sessions at the Tempo Reale centre, where the piece was realised.

My deepest thanks go to Alessandro Fabbri, friend, colleague and great drummer, who produced all the sounds from which the piece is derived and to whom the piece is dedicated

Βλ. επίσης: https://avarts.ionio.gr/festival/2025/gr/akoysmata/