A presentation and update of the new work of Rocco Di Pietro since his last
SICA artist in residency 2009 and the performance of his "Finale" 2012 by The
Stanford Symphony Orchestra.
Di Pietro will give a short power point overview of his five movement
Symphony "The Art of Imaginal Listening" of which the first movement
was "Finale" written for Chris Chafe and Jin Dong Cai. Three movements are
currently finished with a projected time frame of 2016.
he will move on and discuss through another power point the state of his
newest project "Taubes I" visual music that makes use of: 1) low tech
techniques,(colored inks, quality paper, colored crayons, frames on the
walls, easels set up with live models sitting in gallery eventually nude,
surrounded by a live little orchestra. 2) high-tech techniques, power points
projected on walls and blown up,photo shop, social media pics, Facebook etc.
In this project Di Pietro finds himself in this 'after post-modern what?'
environment, not wanting to simply reinvent the avant-garde for himself.
In the second half he will present two live performances of recent work since
his residency assisted by pianist Chryssie Nanou,the piano four hands
work "The Serrata",(Farewell)a precursor of Taubes cameo portraits. He will
finish with his text work of his recited writings "Rajas for John Cage"for
recited stories, and small ensemble of pseudo-Asian communal improvisors
CCRMA friends and former students.
Rocco Di Pietro, was born in 1949 at Buffalo, NY. As a composer, he is mostly self taught. Although he studied piano, harmony and counterpoint with Hans Hagen, it was Lukas Foss and Bruno Maderna who guided him during the Buffalo years during the ‘heyday of the New Music Scene’ 1967-1975.There he met many of the leading lights of modernism and post-modernism through his teachers, including: Duchamp, Cage, Johns, Rauschenberg, Feldman, Boulez, Xenakis , Eastman, Stockhausen, etc.
He was Berkshire Music Center-at Tanglewood - ASCAP- Fellow 1971-72, and studied at the Darmstadt Ferienkurse fur Neue Musik, 1978, lecturing there again in 1990. He also attended The Stockhausen Courses in Kurten, 2001 and presented his book “Dialogues with Boulez to Mills College, Stanford University and IRCAM in Paris, 2001-2003.
He teaches at Columbus State Community College in Music and The Humanities, and was SICA Artist in Residence in 2009 at Stanford University . He was a prison educator and Habilitationist at Attica, San Quentin and London Correctional facilities from 1990-2000,resulting in the cycle” Prison Dirges” for various musical ensembles and prisoners life stories and a Social Worker for Franklin County Children services from 1997-2008,resulting in the cycle “The Lost Project” for Christian Boltanski. His works have been performed by Chris Chafe, Jin Dong Cai, Rob Hamilton, Chryssie Nanou, Ge Wang, Cristina Valdes, Christopher DeLaurenti, Jennifer Logan, Amy Denio, Bruce Hamilton, Pauline Oliveros, Julius Eastman, Ivar Mikahasoff, Frances Marie Uitti, Anthony Miranda, Jan Williams, Petr Kotik, Robert Dick, Kathy Supove, Larry Marotta, Ryan Jewell, Olev Viro, Luis Biava, among many others.
His works have been performed at many venues including: The Flea Theatre, Music with a View, NY, Issue Project Room, NY, Roulette Experimental Inter-medium, NY, SEM Ensemble, NY, Fordham University, NY, Third Street Music School, NY, Brooklyn Academy of Music, NY, The Kitchen, NY, La Mama, NY, Thing-NY, Bang On A Can, All Stars, NY, Society for Ethical Culture, NY. Proctor Institute Utica, NY, American Academy in Rome, Italy, Naples Conservatory, Italy, De Ijsbreker, Amsterdam, National theatre, Seoul, South Korea, Berkshire Music Center, Lenox MA. Darmstadt Summer Course, Darmstadt, Germany, and at the Herkulessaal der Residenz, Bayerischer Rundfunk, Munich, Germany, among others.
Music 152A Careers in Media Technology Music 192A Foundations of Sound Recording Technology Music 192CSession Recording Music 201 CCRMA Colloquium Music 220AFoundations of Computer-Generated Sound Music 220DResearch Topics in Computer Music: Digitally Mapping Culture Music 250APhysical Interaction Design For Music Music 256AMusic, Computing, and Design I: Software Paradigms for Computer Music Music 319 Research Seminar on Computational Models of Sound Perception Music 320AIntroduction to Digital Audio Signal Processing Music 351A Research Seminar in Music Perception and Cognition II: Musical Gesture Music 451A Auditory EEG Research I
Department of Music
Stanford, CA 94305-8180 USA
tel: (650) 723-4971
fax: (650) 723-8468 firstname.lastname@example.org