THE BLACK CHAMBER —A SOUND-SPACE MORPHOLOGY OF BREATH
Risonanze (2014)
Acousmatic work for Wave Field Synthesis, later re-articulated in an eight-channel configuration.
Spatial trajectories operate as structural elements of musical organisation rather than as rendering: the divergence between the trajectories of the resonances and that of the primary sound object progressively reorganises the sound-space field from an integrated and unified configuration into an externalised and plural one. Risonanze is the case study through which the Spatial Grammar was developed, and the piece from which the present project departs.
Outside In (2025)
Acousmatic work, commissioned by the Italian Society for Contemporary Music (SIMC). Presented at ICMC 2025. Duration 5′.
Conceived in stereo and later adapted for multichannel diffusion, the work explores the relationship between spatial motion and timbral transformation. Several processes were developed using Wave Field Synthesis techniques in delayed time, so that trajectories and sound velocities function not only as spatial parameters but as generators of timbral change — spatial behaviour acting directly on the sounding material.
Morfologia de la sombra (2026)
For tenor saxophone, fixed media and live electronics. Duration 9′. Premiered at the Electroacoustic Sounds Festival 2026, Conservatory of Foggia.
Part of the cycle Informe sobre ciegos, after the novel by Ernesto Sábato. The work treats darkness as a condition of listening and spatial disorientation. Musical space and its perspectival deformation are integral to the composition through the coexistence of two independent spatialization engines, one for the live saxophone and one for the fixed-media layer; their interaction produces unstable listening environments in which proximity, distance and orientation continuously shift.
Marcela Pavia, composition and live electronics
Marco Mancini, Tenor sax
Infierno Musical (2024)
For voice, guitar, cello, fixed media and live electronics. Duration 30′. Premiered at the Research Studio AGON — Acustica Informatica Musica; presented at Festival Aperto 2025, Reggio Emilia.
Marcela Pavia, composition and live electronics
Francesco Dillon, cello
Elisa Bonazzi, soprano
Leopoldo Saracino, guitar
Massimo Marchi, live sound engineer
Based on texts by Alejandra Pizarnik and Antonia Pozzi, the work builds a meta-text from fragments of both poets, following fragmentation as a shared poetic and musical principle. Recurring textual and sonic elements create a network of echoes and discontinuities. The inclusion of Pizarnik’s recorded voice — the only known surviving recording — opens a distinct dramaturgical space, establishing a dialogue between presence and absence, memory and immediacy.