Project and methods of participation

New application deadline June 10, 2020

Important dates

  • June 10 deadline for submission of the project proposal
  • June 15 notification of acceptance, project validation and definition of the ensemble
  • June 20 deadline for online subscription and payment of the participation fees
  • July 20 deadline for complete score submission
  • August 15 deadline for submission of the preliminary audio files
  • August 17 - 24 composition atelier
  • August 24 concert in the program of the Livorno Music Festival

In line with the new perspectives opening up due to the current health crisis, the modalities of carrying out the atelier are oriented towards a creative and innovative use of web technologies. The atelier will take place from 17 to 24 August 2020 and is aimed at creating an unprecedented interactive performance via the web for solo instrument or voice and live electronics. The concert will be held on August 24 and will be part of the program of the tenth edition of the Livorno Music Festival.

In case of impossibility to guarantee the physical presence of the participants, the courses will take place remotely (a computer with internet access and good connection is needed), and the performance will take the form of an instrumental piece with or without electronics, diffused through the device described in the Artistic Projects section. The program is divided into collective courses (composition, musical informatics, sound recording and diffusion techniques) and individual meetings.

The final event includes a unique musical creation, of which each participant creates a section autonomously. During the realization of the projects, the participants share the tasks of computer music design and sound projection, in addition to the musical direction of the interpreters.

The musical material is defined autonomously by the selected candidates, prior to the atelier (see the Important Dates section above).

Candidates elaborate a first draft of the score and project proposal for submission. Once the project is approved, the candidates complete the score before the atelier. The week of meetings with teachers and musicians will serve to perfect the final version. The electronic part is based on materials (vocal, instrumental, environmental) selected by the students; new materials will also be created during the atelier. The final work takes the form of an instrumental or electroacoustic piece, diffused through the device described in the Artistic Projects section.

Artistic projects - The theme of water

The ambition of the atelier is to let each student experiment with new technologies to enhance the musical performance experience on the web. The proposed performance starts from the original idea of ​​enriching the musical work with a transparent use of electronics, respecting and merging with the environment and tools. If the health emergency prevents the concert from taking place as originally planned, works will be diffused during a live event on the internet. 

High quality recordings of the instruments and electronics will be broadcasted from web pages. Each participant will have a remote control system to manage their live performance on all devices connected remotely. The recommended setup is a computer connected to speakers plus a second device (smartphone, tablet, PC) connected to bone conduction headphones, which do not close the ear canal, and therefore allow to naturally listen to the surrounding sounds together with those coming from the headphones*. 

The performance consists of an experience of augmented acoustic reality, where electronics blend with each sound in the surrounding environment: an ecological approach to augmented reality in line with the inspiring motifs of the Livorno Music Festival.

*The use of these headphones is not necessary for participation in the atelier. Participants who may want to get some can request them from the organizers of the Livorno Music Festival.

Bone conduction headset link:

Participants may choose their instrumentation among:

  • Solo voice or solo instrument
  • Voice and electronics
  • Instrument and electronics

Projects are selected on the basis of two main criteria:

  • Original reflection on the relationship between sound and nature
  • Quality and originality of the musical idea

For the electronic part, it is required to send audio tracks in relation to the proposal. This material is required for selection purposes, and will serve as a basis for personal and collective work during the atelier. However, the materials sent will not necessarily be used for the final concert.

Instruments available

Female Voice (Soprano)


The final projects will be diffused with a web platform made available to participants. The audio materials presented must be stereo, 44.1 kHz - 16 bit format or other higher quality formats.

Selection of candidates, methods of participation

Admission to the course is based on selection.

To participate, candidates must send an application to the Festival secretariat at by June 10, 2020, attaching:

- 2 scores of your choice via google drive link or dropbox (with recordings if available);

- short explanation text of the project they intend to carry out indicating their intention to include or not the electronics;

- the following form (click to download) for the processing of personal data, completed and signed.


The results of the selection will be communicated via email by June 15th.

The first ten candidates in the rank are selected and will carry out the project for the final concert which will be part of the program of the tenth edition of the Livorno Music Festival. Other participants form a waiting list on the basis of their rank, and may replace selected candidates who may withdraw on June 20, at the latest. Auditors will not be subjected to selection, but will not be entitled to lectures or to participate in the concert.

Candidates admitted to the course must confirm their participation by filling the online registration form (click to go to the form) complete with the payment of the registration and attendance fees by June 20.

Maximum 10 students

The organization reserves the right to make some scholarships available to the most deserving students upon request to the secretariat, to be assigned at the end of the course and at the discretion of the teachers.

Conditions for registration and fees


Born in Bergamo in 1962, Stefano Gervasoni began studying composition in 1980 on the advice of Luigi Nono: this encounter, as well as others with Brian Ferneyhough, Peter Eötvös and Helmut Lachenmann, turned out to be decisive for his career. After attending the Conservatorio Giuseppe Verdi in Milan, Stefano Gervasoni studied with  György Ligeti in Hungary in 1990, and then, in 1992, he attended the IRCAM Course in Composition and in Computer Music in Paris. The first three years in France launched Gervasoni's international career that eventually led him to be artist-in-residence at Villa Medici in Rome for the biennium1995-1996. With commissions from prestigious institutions such the WDR, the SWR, the Orchestra Nazionale della RAI, the Münchner Kammerorchester, the Festival d'Automne in Paris, Radio France, IRCAM, the Casa da Musica in Porto, the Festival Archipel in Geneva, the Divertimento Ensemble in Milan, the Ensemble Intercontemporain, the Ensemble Modern, the Ensemble Contrechamps in Geneva, the Maerzmusik festival in Berlin, the Ars Musica Bruxelles, the Festival Musica in Strasbourg, the French Ministry of Culture, Milan Teatro alla Scala and Suntory Hall in Tokyo, Stefano Gervasoni has established himself as one of the most important Italian composers of his generation. His catalogue – which includes chamber and vocal music, concertos, works for orchestra, for ensemble and an opera (Limbus-Limbo) – is published by Ricordi and by Suvini Zerboni.
Winner of numerous prizes, including the recent "Serge Koussevitzky Music Foundation Award" (2018) and Premio della Critica Musicale "Franco Abbiati" (2010), his work has allowed him to be a grant-holder at the Fondation des Treilles in Paris (1994) and at the DAAD in Berlin (2006) and composer-in-residence at Villa Médicis in Rome as fellow at the Académie de France for the years 1995-96 and at the Domaine de Kerguéhennec during the period 2008-2010. He has also been invited to teach at the Darmstadt Ferienkurse, on the courses organised by the Fondation Royaumont (Paris), at Toho University in Tokyo, at the Festival International de Campos do Jordão in Brazil, at the Conservatory in Shanghai, at Columbia University (New York), at Harvard University (Boston) and at Takefu International Music Festival. He has been composer-in-residence at Lausanne Conservatoire (2005) and at Yellow Barn Summer Academy (Vermont, 2016). Moreover, he has been visiting professor at ESMUC in Barcelona for the 2012-13 academic year.
Since 2006 Stefano Gervasoni has held a regular teaching post as professor of composition at the prestigious Conservatoire National Supérieur de Musique et de Danse in Paris.
The musicologist Philippe Albèra wrote a substantial book on Stefano Gervasoni's work, Stefano Gervasoni. Le parti pris des sons, published in 2015 by Editions Contrechamps (Geneva). His last CD, entitled pas perdu has been released in 2018 by Winter & Winter.

Marco Liuni is a researcher and computer music designer based in Paris. His research activity concerns audio signal processing and its applications in cognitive neurosciences, with particular reference to analysis-synthesis of sound and voice, automatic adaptive algorithms, real time transformation. As a computer music designer, he works on personal and collaborative projects of electronic, electroacoustic and mixed music (acoustic instruments and electronics), and develops real-time applications for live electronics and interactive multimedia installations. Graduated in classical guitar (Istituto P. Mascagni, Livorno), he completed his musical training in the class of Alvise Vidolin (Conservatory B. Marcello, Venice), moving towards interpretation and composition with electronic instruments. Graduated in Mathematics at the University of Pisa, in 2012 he defended a PhD in international codirection between the mathematics department of the University of Florence and IRCAM (Paris). He regularly conducts his research activity at IRCAM, supported since 2016 to 2019 by a permanent teaching role in the Cursus for composers of the institute.