La 'drammaturgia' del suono elettronico nel Perseo e Andromeda di Salvatore Sciarrino (The ‘dramaturgy' of electric sound in 'Perseo e Andromeda' by Salvatore Sciarrino)

La musica sulla scena. Lo spettacolo musicale e il pubblico", (a c. di A. Rigolli), Quaderni Ladimus II, Torino-Parma, EDT- La Casa della Musica: 41-58.

Language(s): Italian


Historical Electroacoustic Instruments Subtractive Synthesis Analysis Computer Music


This article focuses on the genesis and reception of Perseo e Andromeda (1991) by Salvatore Sciarrino, an opera for four voices and digital systems realised at CSC, Centro di Sonologia Computazionale, Padua University. This is the first opera where the orchestra is totally replaced by computer sounds generated or controlled in real time. This article analyses its structural and textual characteristics, the timbres used (the sounds evocate the maritime soundscape, the vocal parts employ few melodic elements which are characterised by continuous minimal changes), computer synthesis (including a listing of digital MUSIC 5 instruments), the score published by Ricordi (an interesting case of transcription of electronic parts onto musical staff notation and the publication of the entire digital MUSIC 5 score), a scenographic overview and the reception of the opera according to several articles published by some important Italian music critics.

Abstract translation(s):


ZATTRA, Laura (2006b). La 'drammaturgia' del suono elettronico nel Perseo e Andromeda di Salvatore Sciarrino

All references of the same author:


Zattra, Laura (2004). Searching for Lost Data: Outlines of aesthesic-poietic analysis
Zattra, Laura (2006a). The Identity of the Work: agents and processes of electroacoustic music
Zattra, Laura (2007). The Assembling of Stria by John Chowning: A Philological Investigation