The Jury of the Eighth International Competition for Composers Citta' di Udine
La Giuria del Concorso Internazionale di Composizione Città di Udine - ottava edizione

Nicola Sani (President - Italy) - Michele Biasutti (Italy) - Edmund J. Campion (USA) 
Harald Muenz (Germany) - Ivo Nilsson (Sweden)


Michele Biasutti - Composer and Psychologist, he was awarded diplomas at the Padova Conservatory of music. A prize-winning composer (International Composer Competition L. Russolo, International Competition of Bourges, Concour International de Composition de la Societé de Musique Contemporaine du Québec, International Competition Pierre Schaeffer, ...), his works were radio broadcast (RAI, ORF, RNE 2, Radio
Bratislava, RTSI, HRT, Radio Canada) and selected for International Festivals (ISEA '95 in Montreal, ISEA '96 in Rotterdam, Soundbox in Helsinki, VI BSCM in Rio de Janeiro, JIM'99 in Paris, VII BSCM in Curitiba). His music was performed in Festivals in European cities (Music Now in Dublin, Purcell Room in London, Fondazione Levi in Venice, 31st International Music Festival in Opatija, 18° Festival Internacional de mùsica contemporànea in Valencia, Tempo di Pratolino in Florence, Aspekte in Salzburg, Triduum in Klagenfurt, Society for new music in Prague, Concerts à la Villa Gillet in Lyon, Musiques d'aujourd'hui in Marseille,
Neue Musik in Freiburg; Encuentros mùsica europea in Madrid...), in North and South America (M.I.T. in Boston, SMCQ in Montreal, San Francisco State University in S. Francisco, University of Maryland in Baltimore...) and in Australia (Interfaces, ACMC 2000 in Brisbane). He collaborated with International Centers for electronic music. 
He is active as music organizer, currently scientific director of the Computer Art Festival in Padova. He is in
the jury of international competitions of composition. As a researcher in psychology of music, he received a Ph.D. at Padova University, discussing an experimental research about the perception of environmental sounds. To carry out researches Biasutti spent time at Indiana University in Bloomington and at the University of California in Berkeley.
His writings have been published in several international psychological reviews. Among them: International Journal of Psychosomatics, Rivista di Musicoterapia, Hearing Research (Elseiver). He is the author of the books: Scholar Autonomy and Educational Research (CLEUP), Environmental Sound Education (La Nuova Italia). He has taught at the Conservatories of Novara and Venice and is researcher at Padova University. His music is recorded on Compact disc Artis-Cramps (ARCD 062, Polygram distribution), Fondazione Russolo-Pratella (Ef. Er. P94), Rivo Alto (CRR 9511, CRR 9610, Electa and Ducale distribution), and Accademia
Musicale Pescarese (MV001). His papers were published on: International Journal of Psychosomatics, Attualità in Psicologia (Ed. Universitarie Romane), Rivista di Musicoterapia (Ed. Minerva Medica), Giornale italiano di Psicologia (Il Mulino), Hearing Research (Elseiver). He is the author of the books: Scholar Autonomy and Educational Research (CLEUP), Environmental sound education (La Nuova Italia). Michele Biasutti specialized in ecological music, music which seeks to return to the essential elements of human nature, re-evaluating the primary sphere of human auditory perception. He is interested in the relationship between scientific thought and the logic of music, applying the results to his composition and research. Biasutti has
composed for theater, for chamber ensembles and for orchestra. His works for instruments and live electronics
deepens the possibilities of interaction between technological developments and instrumental resources. 

A native of Dallas, Texas, Edmund Campion (b. 1957) (www.edmundcampion.com) did his doctoral work in composition at Columbia University and spent several years in France studying with Gérard Grisey. In 1993 he was selected to work at IRCAM where he composed Losing Touch for vibraphone and tape. He was subsequently commissioned by IRCAM to write a large-scale piece for interactive electronics and MIDI grand piano. 
The resulting Natural Selection received its premiere with the composer at the piano in 1996. After his return from Paris, Campion joined the composition faculty at the University of California, Berkeley, where he is also Co-Director at the Center for New Music and Audio Technologies (CNMAT) (www.cnmat.berkeley.edu).
Many of Campion's works explore relationships between sound and space-explorations often born of extra-musical inspirations or thoughts. Among his multimedia works is the complete ballet Playback, commissioned by IRCAM and the Socitété des Auteurs et Compositeurs Dramatiques in collaboration with the choreographer François Raffinot. Domus Aurea, performed by the San Francisco Contemporary Music Players in 2001, involves a sonic rumination on the "grotesque" inspired by the fantastic, fifteen-hundred-year-old frescoes adorning the walls of Emperor Nero's Roman villa. ME, for baritone and computer was commissioned by the CIRM in Nice and was composed in close collaboration with poet John Campion. Other projects include a French Ministry of Culture Commande d'Etat for Ondoyants et Divers (Wavelike and Diverse) (Billaudot Editions, Paris), written for the Percussion de Strasbourg Ensemble. Practice, commissioned by the American Composers Orchestra was premiered in Carnegie's Zankel Hall in March of 2006. Recent commissions include a work for the violin and piano duo of David Abel and Julie Steinberg. The Zellig ensemble premiered a commission from Radio France at the Festival Presence in 2009 and Campion is currently working on a new commission for the Zellig ensemble to be premiered in 2010. 
Upcoming projects include a Koussevitzky Foundation commission for the San Francisco Contemporary Music Players and a new work for the Argento Ensemble in New York. Other prizes and honors include: the Rome Prize, the Nadia Boulanger Award, the Paul Fromm Award at Tanglewood, a Charles Ives Award given by the American Academy of Arts and Letters, and a Fulbright scholarship for study in France.


Harald Muenz (born in Schwäbisch Hall) calls his work “a research for acoustic situations which cannot be described within the limitedness of traditional terms of music and composition. Even if you do not want to call it music: it’s still there…” He had lessons with such different personalities of composers like Helmut Lachenmann (1994-97), Krzysztof Meyer (1988-93), Johannes Fritsch and Clarence Barlow as well as in the Electronic Studio of Hochschule für Musik in Cologne (Hans-Ulrich Humpert), the Institute for Sound Engineering in Detmold and at the Institute for Phonetics of Cologne University (Georg Heike). Alongside chamber, orchestra and vocal compositions he has been especially involved with articulatory speech sound composition (Aesthetic Phonetics), radiophonic works and computer aided concepts.
His works have been premiered by, amongst others, Ensemble Modern (Frankfurt), Ensemble Apartment House (London), Ensemble Alter Ego (Rome), Neue Vokalsolisten (Stuttgart), Ensemble Mosaik (Berlin), Ensemble Phorminx, quartett avance, duo: archaeopteryx, Black Jackets Company (Brussels), Beth Griffith, Carin Levine, David Smeyers, Hanna Aurbacher and the Berlin Philharmonic Orchestra. He has received performances in Belgium, Germany, France, Britain, Holland, Italy, Poland, Slovakia, the Czech Republic, South Korea and the USA, and his music has been broadcast throughout Germany and many other countries including also RAI Rome, BBC 3 London, Korea and the USA. His works have been heard at many festivals,
including the Ars Musica Festival in Brussels (1993), Darmstädter Ferienkurse (1994, 2000), Kunststichting Rotterdam (1994), Melos-Étos in Bratislava (1999), Metapher in Stuttgart (1999), Emergenze in Rome (2000), Ultraschall in Berlin (2000, 2002), Schreyahner Herbst (2001), Pan Music Festival in Seoul (2002), and IPEM in Ghent (Belgium, 2003) among others. A large scale project for music theatre is in course.
He has received many bursaries and prizes, including the Research Grant of NRW (2001 for the ethnologicalphonetical music project SprachProben), Stiftung Kunst und Kultur NRW (1999), the Förderpreis Musik des Landes NRW (1997), the Bernd-Alois-Zimmermann-Stipendium Köln (1997), and he has been a fellow of the artist’s residencies Künstlerhof Schreyahn (2005), Villa Aurora in Los Angeles (2000) and Künstlerhaus Schloß Wiepersdorf (1995). Recently, two CDs (Feedback CD 3 and DEGEM CD8) with an excerpt from „writing “ and “dreimal neunzig sekunden wirklichkeit” were published at cybele records. The new music magazine MusikTexte (vol. 103, November 2004) dedicated a focus to his artistic work.
Harald Muenz lives in Cologne and London. He is also active in several other functions inside the new music “scene”, f.e. as a radio and print media author, specialist translator and lecturer on new music. In Cologne, he is a member of the musical advisory boards for Kunst-Station Sankt Peter and for the Italian Institute (IIC). He is also a member of Initiativkreis Freie Musik (IFM) and of the composer's collective Krahnenbaum Company Köln. He recently edited a book with essays on Franco Evangelisti (Saarbrücken: Pfau-Verlag 2002).
He was a lecturer at the Phonetics Department of Cologne University (2001-2005) and lectured at the University of Applied Sciences (FH) in Würzburg (since 2003). He was invited as a guest lecturer by Cologne University (musicology, phonetics), FH Würzburg and Technical University Cottbus and he was a teacher at the Summer Courses of Jeunesses Musicales Germany. Currently he holds a position as full-time permanent Lecturer in Music at the School of Arts of Brunel University in Uxbridge/West London.
He is a co-founder and member of the ensemble sprechbohrer (www.sprechbohrer.de), which performs articulatory speech sound art.

Ivo Nilsson is educated at the Royal College of Music in Stockholm and at IRCAM in Paris. In 1989 his Octet was premiered by the Ensemble L’Itinéraire at Radio France. 
Since then, his music has been performed by ensembles such as Cantus, Ensemble Son, Ensemble Recherche, KammarensembleN, Nouvel Ensemble Moderne, Orchestre des Flûtes Français, Kammerensemble Neue Musik Berlin and Slowind at festivals like Biennale di Venezia, Gaudeamus Music Days (Amsterdam), Huddersfield Contemporary Music festival, Ilhom (Tashkent), Musica (Strasbourg), Roaring Hoofs (Mongolia), 2 Days and 2 Nights (Odessa), Sonorities (Belfast), Spazio Musica (Cagliari), Spectra (Tirana), Time of music (Viitasaari), Ultima (Oslo), Warsaw Autumn, Nordic Music Days (Copenhagen) and the World Music Days in Zagreb.
His music has also been recorded by the radio companies BBC, DR, RNE, SR and YLE and by the record labels Ariadne, Phono Suecia and SFZ Records.
Ivo Nilsson was the artistic director of the Stockholm New Music festival in 2003 & 2005. 
In 2007 Ivo Nilsson was awarded the Interpreters price from the Society of Swedish Composers.

Nicola Sani was born in Ferrara. His musical training included studies in composition with Domenico
Guaccero and Karlheinz Stockhausen and electronic music with Giorgio Nottoli. He is the author of a large number of instrumental and electroacoustic compositions, stage operas, dance operas and multimedia installations commissioned, produced and performed by internationally renowned Institutions, ensembles and soloists within the most important seasons and festivals worldwide.
Most relevant awards include: "Prix Ars Electronica" Linz, special jury mention at the Prix Italia, "Erato Prize" of the Italian Ministry of Foreign Affairs, Guggenheim Prize, International Giuseppe Verdi Prize.
Nicola Sani's compositions are published by Edizioni Suvini Zerboni, Milan.
He was curator of the music section of the Festival Arte Elettronica in Camerino, of the Electronic Art section of the Festival RomaEuropa and artistic director of the Contemporary Chamber Music series "Emergenze" in Rome. He is currently member of the artistic board of the IUC-Istituzione Universitaria dei Concerti in Rome
(University Concerts Institution).
He is artistic director of the "Sonora" Project, founded by the Italian Foreign Affairs and Culture Ministry with the purpose to promote the Italian New Music worldwide.
Since October 2004 Nicola Sani is President of the "Scelsi Foundation" in Rome and since July 2006 he is member of the board of the Teatro dell'Opera di Roma (Rome's Opera House).
He is designated as the new Artistic Director of the Teatro dell'Opera di Roma, starting from January 2009.
He writes for the musicological review Musica/Realtà. He is the author of the book "Musica Espansa" (co-author Francesco Galante) published by Ricordi-Lim, Milan. 

 

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