Michele Biasutti (Italy)

Juraj Ďuriš (Slovakia)

Salvatore Macchia (USA)

Alexander Shchetynsky (Ukraine)


Michele Biasutti (Italy) President of the Jury - 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 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). 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. 
Michele Biasutti PhD is an Associate professor at Padova University, where he conducts research in psychology of music and music education. Among his research topics there are the cognitive processes in composition and improvisation, on-line music learning and the education of music teachers. He is proposing an approach to music education based on the development of processes rather than products. He is scientific director of research projects, he is a member of the editorial board of journals and he has published articles in international peer-reviewed journals. He was the scientific director of the international conferences Psychology and Music Education (PME04) and Training Music Teachers (TMT07) and author of seven books. He is President of the Italian Society for Music Education.


Juraj Ďuriš (Slovakia) - Graduated at the Slovak Technical University in 1978 and since then he has been working at the Experimental Studio of Radio Bratislava. He achieved his music and composition education through private studies. He participated in the creation of several electroacoustic compositions and produced a number of his own projects. He participates in several intermedia activities and computer art projects in Slovakia and outside. He is programme adviser for experimental art at RTVS - Slovak Radio. Since 1992 broadcast radio programme Ex Tempore about experimental music. Director of Experimental Studio Bratislava and editor in chief www.sonicart.sk.

Member of jury 1991 - 2003 Concorso Internazionale “Luigi Russolo” in Varese, Prix Russol 2019, jury “Musica Nova” - 1995-2020 Prague, - a member of jury IREM (International Rostrum of Electroacoustic - UNESCO - Helsinki 94, Amsterdam 96, Roma 2004, - jury SPACE 96 – Stockholm, - a member of ARS Austica Workgroup EBU 2000-2020, (European Broadcasting Union), Taukay Udine and PRIX EUROPA 2006.
Electroacoustic compositions: “Chronos I.”, “Zrodenie svedomia” (Birth of Conscience), “Spomienky” (3rd prize Varese, Italy 1985), “Memories”, “Sny” (The Dreams - 1987 1st prize Varese, Italy, 1988, Int.Rostrum of El. Music, Stockholm), “Portrét”, (Portrait Mainceprize in video category MUSICA NOVA '94 - Prague), “Panta Rhei” - for violoncello. and electronics, “STEAM The Symphony of Energies” - Shortlist PRIX ITALIA 2015, Vláčikár (Model Train Lover), 4.33 pre Adamčiaka, Stratné pamäti (Lost Memories), Leck mich am Arsch, Joniku! 


Salvatore Macchia (USA) holds a BM from the Hartt School of Music; and an MMA and DMA from Yale University. He studied bass with Bertram Turetzky, Joseph Iadone, Gary Karr and William Rhein, and composition with Yehudi Wyner and Hal Overton.
Professor Macchia has performed in the European and jazz traditions throughout America and Europe, and has been the contrabass soloist with the Berkshire Choral Festival Orchestra, Dinosaur Annex under Gunther Schuller, Springfield (MA) Symphony Orchestra (where he serves as principal bass), Jazz Composer's Orchestra and at the Boston Festival of Quarter Tone Music. He has premiered nearly 100 compositions featuring the doublebass.
Macchia appears with the Duo Cambiata, Iadone Consort (as violonist) and Ritornello (as gambist). A former member of Musica Oggi and Chamber Music Plus, he was a founding member of the Ancora Chamber Ensemble. His compositions have been performed throughout America, in Europe, the former Soviet Union and Japan, including performances at the Warsaw Autumn Festival in Poland, American Academy in Rome, the Computer Arts Festival in Padua, Italy, and the Aspen and Monadnock Festivals in the U.S. His recent commissions are from: Interensemble (Padua, Italy), The New England Chamber Music and Composers Forum, Harvard Summer Dance Theater, Pioneer Valley Symphony; multiple commissions from Springfield Symphony Orchestra, Mohawk Trail Concert Series, UMass Amhesrt Opera Workshop, Dorn Press and Gasparo records.
Macchia's works have been published by the Rinaldo and Dorn Presses. A former member of the faculty at the University of Evansville, Southern Illinois University, University of the Pacific, Amherst and Bennington Colleges, he can be heard on the Gasparo, Open Loop, CRI and Spectrum labels.


Alexander Shchetynsky (Ukraine) was born in 1960. His work list includes compositions in many forms ranging from solo instrumental and chamber music to orchestral music, choral pieces, and operas. They have been presented in most European countries and in North America, performed by such internationally acclaimed ensembles as the Moscow opera house Helikon-Opera, the BBC National Orchestra of Wales, the Warsaw Philharmonic Orchestra, the children's choir Maîtrise de Radio France, the Arditti String Quartet, the Moscow Contemporary Music Ensemble, Ensemble Wiener Collage, Ensemble Klangforum, Ensemble Continuum (New York), New Juilliard Ensemble, musikFabrik, and the Stockholm Saxophone Quartet, and by artists such as pianist Yvar Mikhashoff, soprano Phyllis Bryn-Julson, and cellist Alexander Rudin, among others. Two CDs of his music have been released in the USA and France. His next CD with choral works was released on NAXOS label in March 2011. Shchetynsky received awards at six international composer's competitions in Austria, France, Luxembourg, Poland, and Switzerland. Among the jury members at these competitions were A. Dutilleux, M. Rostropovich, K. Penderecki, S. Palm, E. Denisov. In 2000, his chamber opera Annunciation was awarded the Russian National Theatrical Prize, Gold Mask, in the category of Innovation. Currently he is a senior lecturer at the National Kharkiv University of Arts.
Inspired by the Soviet musical avant-garde (especially E. Denisov, A. Schnittke, and A. Pärt) and the Second Viennese School, as well as by O. Messiaen and G. Ligeti, he developed his personal post-serial style based on a combination of quasi-serial procedures and special attention to the attractiveness of sound material and to melody as a source of expression. Another fundamental feature of his music is its rhythmic, structural, and formal flexibility that suggests a "self-development" of the initial micro-thematic patterns. Modern spirituality was an impulse for many of his vocal and instrumental compositions and especially his three operas and his choral works. In these newest compositions, he moves towards post-modernistic aesthetics and aims at finding a new meta-style that integrates stylistic elements of various epochs. He does not, however, consider eclecticism a part of his vocabulary.

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