tizianomilani

Tiziano Milani, acoustic architect, approached experimental music in the second half of the '90. His passion for the "collected" sounds led him to devote his work to this particular kind of music.Milani's music was released on CD-R by Setola di Maiale ("Chamber Music For Screeching and Artificial Insects" and "Music As a Second Language") and as freely downloadable Mp3s by the Chew'z net-label ("SuoniOggettiRisonanti")."Nothing in the sounds I pick up is affirmed with will and enterprise, but rather whispered or murmured almost by chance, just like a conversation unintentionally heard on a subway train, or accidentally eavesdropped through the wall of an hotel room. The approach to sounds must not be simplified because every single sound is nothing but a small part of a whole which should be considerated in its own theoretic - and then mechanic - execution. Several different stages of work are stratified in every single piece (contemporary or not). In some cases sounds are generated by touching, beating and breaking contact-miked objects. In other cases, they are the results of manipulated fluxes. In the audio tracks everything is deposited like in a melting-pot than receives and mixes alchemies. The work on sounds involves differect aspects such as improvisation, which is seen like the ecstasy of the moment, like a synthesis between meditation and execution, contemplation and composition, but also a sense of void. The improvisation, the play by meaning of coincidences and casualities, are elements so important that resolve themselves in the idea of process/performance. One of the techniques I use consists into a stratification of the musical form, through which the same elements can have a different expressive function. This kind of "formal deepness" allows to move from the "background" element to the note / musical element in the "foreground" with continuity."
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TIZIANO MILANI:CHAMBER MUSIC FOR SCREECHING AND ARTIFICIAL INSECTS (cdr setola di maiale)
"(...) Tiziano Milani è una bolla di cristallo leggerissima ed affascinante con una piccola crepa aperta sul quotidiano. In compagnia di Susanna Vigoni (laptop ed oggetti), Tiziano si dedica ad antiche arti di cesello auditivo. Squarci imprevisti sull'ordinario tenuemente sovrapposti e manipolati, texture umorali che rimandano sia ad una moderna classicità che ad una febbrile ricerca del particolare nascosto; del microscopico. Ma forse non ci siamo ancora, Tiziano lascia sedimentare i suoni in avvallamenti presumibilmente umidi, ne osserva le spore crescere sulla superficie; gli concede lo spazio necessario. E' un gioco difficile questo tipo di ricerca, richiede nervi saldi; Tiziano pare averli. Affascinante gioco di risonanze quasi balinesi, otterrebbe dolci parole di apprezzamento da un David Toop o da un Paul Schütze (questo è un complimento...), non irrompe; si pone discretamente. La serie di Improvviso Suono Organizzato si dipana lungo coordinate semplici e vellutate, deliziosi aiku sonici che l'orecchio intossicato percepisce come rinfrancante unguento medicamentoso; si instaura una questione d'approccio tattile con queste delicate miniature. Sfioramenti, percussioni ancestrali; nodosi fasci di materia manipolata. Coincidenze fortunate e casualità; questo ed altro. Sul finale si allungano ombre oblique, l'atmosfera si fa più rarefatta; i sensi si acuiscono. Non ancora “Oceano Di Suono” ma la direzione è quella giusta. Suadenti, graziosi; detriti d'inconscio." Marco Carcasi, Kathodik.
TIZIANO MILANI:MUSIC AS A SECOND LANGUAGE
(cdr setola di maiale)
Più ancora che nel primo disco per SdM, Chamber Music For Screeching And Artificial Insects(SM940), è in questo lavoro del musicista lombardo che il delicato equilibrio tra elettronica astratta e linguaggio classico contemporaneo sembra reggersi su se stesso. Accade così che i rimbrotti dei fiati o le note di piano di un ensemble da camera mai esistito e le geometrie digitali che perimetrano in continuazione una cornice instabile finiscono per coagularsi in lampi di bellezza improvvisa e fuggevole (Interazioni 1, Interazioni IV); che il linguaggio della macchina si presti docilmente ad essere impastato con cura come fosse colore - pur sempre grumoso - da spargere su di un’enorme, sonora, tela pollockiana (Interazioni II, Interazioni III); che il rumore concreto, citato evocato decontestualizzato assurga a nuova dignità artistica grazie all’affascinante balletto di seduzione che i suoni elaborati continuano ad esibirgli senza posa in un’estenuante, intermittente, crescendo tutto cerebrale fra ripulsa e fascinazione (Interazioni V). (Vincenzo Santarcangelo).
TIZIANO MILANI:SuoniOggettiRisonanti (free download www.chewz.net)
Pubblicato on line dalla net label Chew Z, suoni:oggetti:risonanti è un album composto da tre lunghe tracce, nelle quali Tiziano manipola a suo piacimento le fonti più disparate. Si muove in territori contigui alla musica concreta, lasciando talvolta che dalle varie stratificazioni sonore emergano distinti il suono di qualche strumento o una forma larvata di melodia e, verso la fine della seconda traccia, addirittura una voce femminile cantilenante e uno spoken word, senza dimenticare alcuni abbozzi di ritmica e gli archi del terzo episodio. Tiziano si pone dunque tra la sperimentazione dei pionieri della musica elettronica e suoi contemporanei come Francisco Lopez e Scott Taylor (per non citare quanto si sente da label come la Entr’acte), risultando qui probabilmente più vicino al secondo, poiché costruisce pezzi a tratti più musicali e non sempre così rarefatti. L’approccio a questo tipo di uscite è come sempre difficilissimo, ma non è affatto escluso che un po’ di inquietudine non penetri le ossa di qualcuno.
SIRR (spatial impulse response rendering)
Luca Sciarratta & Tiziano Milani (www.rudimentale.com)
Spatial Impulse Response Rendering (SIRR) can be used to reproduce room acoustics with any multichannel loudspeaker system. In SIRR the time-dependent direction of arrival and diffuseness of measured room responses are analyzed within frequency bands. A multichannel response suitable for reproduction with any chosen surround loudspeaker setup is synthesized using the analysis data. The resulting loudspeaker responses are used in a multichannel convolving reverberator, and the synthesized responses create a natural perception of space corresponding to the measured room.
TIZIANO MILANI:Im Innersten (AFE109LCD)
"Im Innersten", Tiziano Milani's fourth full-lenght solo work was released by Afe in October 2008.
"Im Innersten" is conceived as a continuous flux where "all events coming from a different origin interact with each other so that each of them contains all the others in itself". Intervention is focused on the sound/space relation.The research operated inside a reverberating room is an important experience in this relation: rebuilding sonic objects starting from electronic and acoustic improvisations through the properties of "differently musical" objects that have "sensible" distinctive sound features. Part of the sounds of "Im Innersten" were obtained in such a way.Research was developed through standard operations meant to measure the acoustic absorption level of different materials (blocks, panels, etc.).The analysis of the absorbing "power" of materials consist of procedures that are complex and exciting at the same time because of the improbable repetitivity of the measure themselves. Variants are many and seldom reproducible.Sample materials were put on the floor and the "improvised" sounds were introduced inside the room and then "recaptured" with their new properties (reverb times) by six microphones.Variation of the reverb time, due to the materials absorbing properties, is the main subject of such a sonic alteration. The resulting sounds were then assembled in a studio.
Tiziano Milani’s “Im Innersten” consists of three long-form pieces, elegantly fusing organic minimalism with something that approaches clicks ‘n’ cuts territory. Milani capably splices delicate textural glockenspiel with a rangy pallette of bleeps and blips, field recordings, and subtle harmonics. The overall feel is sedately paced, crisp and beautifully executed..perhaps one of my favourites of this handful of releases. Fine stuff indeed. (http://whiteline1.wordpress.com)
OTHERS
Claudio Parodi - Horizontal Mover (homage to Alvin Lucier) extreme XCD-056 www.xtr.com
Horizontal Mover is the first chapter of an ongoing series of seven works. Each of them will freely utilize as a generative source one of the seven tracks of the CD "Suoni 2005" by Tiziano Milani. The writing on the cover of the CD "Qualsiasi tipologia di manipolazione ? concessa" (any kind of manipulation is allowed) and my friendship and mutual respect with Milani allows me to do that. There is no schedule for the series, only time will tell in which order and when it will be completed. Horizontal Mover utilizes track 1 (4'16") of Milani's CD.As stated, Horizontal Mover pays homage to the work of Alvin Lucier. The main point of reference is the gorgeous masterpiece "I am sitting in a room". The work by Alvin Lucier is based on the diffusion and recording of the previous recorded spoken phrase, each recording emphasizing the natural resonance of the room, until the loss of the speech.I used the same principle, with some differences. First of all, the original track was omitted. For each of the twelve diffusions to be recorded, the model and position of the diffusers was changed, along with adding resonators (each time different and in a different position) and humming amplifiers. The use of resonators is another feature of Alvin Lucier's work.After every recorded diffusion, determinate seconds of music were cut and - starting from part ten - duplicated (differently on the left and right channels). Before the next diffusion and recording, the material was stretched exponentially. Every stretch uncovered new detail in Tiziano Milani's accumulative work, with each element remaining mysterious. For every recording, only the diffusion of the first part of the previous stretching was used.At the stretching of part number seven, the computer failed, due to the dimensions of the file, and from that point on only portions of the file could be stretched. That led back to the pioneers' age of electro-acoustic music, when machines were asked to do too much. Due to the time for every stretch, the first day of recording ended at part number nine.The morning after was a surprise! Omitted on the score was the direction of resonator number nine for part ten, and I decided to put it toward the direction of the microphones. With the new day the last three parts were energized by the sun and due to the position of the hummers we had to twice increase the volume of the diffusers, until the truncated last diffusion, which left on the recording the natural reverberation of the room.The week after, the twelve parts were cross-faded to create a continuum and the work was done.Claudio Parodi (February 1st, 2006)
Claudio Parodi - A Ritual Which is Incomprehensible (to the smile of Pauline Oliveros) extreme XCD-062 2008 www.xtr.com
It takes an artist of true sensitivity to understand another great artist. With “A Ritual which is Incomprehensible (to the smile of Pauline Oliveros)”, Claudio Parodi has spoken with the musical language of Oliveros, a musician he holds in great esteem.Having successfully paid homage to Alvin Lucier, Parodi takes a very different strategy to embody one of the world’s leading proponents of deep listening music. Importantly he brings to the album his talents as a Turkish clarinet player.Parodi manages to use the Turkish clarinet to evoke the sonorous harmony of the bandoneon as used by Oliveros. Additionally, he seamlessly integrates the sounds of the second track from “Suoni” by Tiziano Milani. This is the album that has inspired Parodi on his musical pilgrimage.In capturing the essence of Oliveros, “A Ritual which is Incomprehensible (to the smile of Pauline Oliveros)” reveals more and more on repeated listening. It is possible to simply let the music wash over you but there is so much more to experience.“A Ritual which is Incomprehensible (to the smile of Pauline Oliveros)” is the second of seven generative compositions that Parodi is recording for Extreme. Other musical luminaries to be showcased in the series include Charles Hayward, Yasunao Tone (of Fluxus) and Alvin Curran.