Laura ZATTRA is a scholar of twentieth/twenty-first-century music, with a special emphasis on avant-gardism, electroacoustic music, sound studies, science and technology studies, history of media and recording technologies, sound design and sound in filmmaking, collaboration studies, philology and analysis, private and institutional music archives, ethnography, oral history, women composers/musicians, sound design and computer music design.
She currently is appointed as Adjunct Professor at the Conservatoires of music of Rovigo, Vicenza, Bologna and Parma (Italy) where she teaches the History of Electroacoustic Music and/or the History of Sound Design in Cinema. In 2018 she was Invited Lecturer (Guest Faculty) for the (Master of Arts) Sound Studies and Sonic Arts at the Universität der Künste in Berlin (June 2018), and keynote speaker at the Electroacoustic Music Conference in Florence (Italy, June 2018).
In 2018-2019 she is invited researcher in the project “Analyse des pratiques du design sonore”, for the Labex CAP (France): ACTE (F. Pecquet), IRCAM – APM (N. Donin), IRCAM – PDS (Nicolas Misdariis). She is recipient of the Paul Sacher Stiftung grant (Basel) for a two-month research project for study into Cathy Berberian’s early life and training (to be scheduled in 2020). In 2019 she has been invited to write 3 book chapters for the books: (1) Between the Tracks, edited by Kerry Hagan & Miller Puckette, MIT Press (chapter’s title: “Taras su tre dimensioni by Teresa Rampazzi: Documenting the Creative Process”; (2) The Bloomsbury Handbook of Sound Art, edited by Sanne Krogh Groth & Holger Schulze, Bloomsbury (Chapter’s title: “Audiogrammi of a Collective Intelligence: The Composers-Researchers of S2FM, SMET, NPS, and other Mavericks”); (3) Doing Research in Sound Design, edited by Michael Filimowicz, Routledge, Routledge Sound Design series (chapter’s title: “Understanding Processes / Understanding Agents: the Analysis of Sound Design Practices Project [ASDP] research methodology”; first author, written with N. Misdariis, F. Pecquet and N. Donin).
She is associate researcher at the APM équipe (Analyse des Pratiques Musicales) at IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris, and associate researcher at the Laboratoire IReMus (Institut de recherche en Musicologie) at Sorbonne in Paris. She is a member of the Editorial Commitee of the Analyses Project, IRCAM Paris, (http://brahms.ircam.fr/analyses/) and of the journal Organised Sound (Cambridge Unviersity Press).
From January 2018 she is co-editor-in-chief of the journal Musica/Tecnologia, Music/Technology (Firenze University Press), http://www.fupress.net/index.php/mt.
She has published on the music of John Chowning, Luigi Nono, Salvatore Sciarrino, Angelo Paccagnini, Agostino Di Scipio, Teresa Rampazzi, Renata Zatti, collaboration in electroacoustic music and musical assistants (computer music designers), the analysis of sound design practices, the philology and genetic analysis in the avant-garde music, and on theoretical and taxonomy issues in the study of electroacoustic music.
She has recently published for Routledge Live-Electronic Music. Composition, Performance and Study, with Friedemann Sallis, Valentina Bertolani and Jan Burle, Routledge, 2018 (out in November 2017), a book that “examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format”.
Her monograph Studiare la computer music, Definizioni, analisi, fonti (2011) provides a critical analysis of the historical-analytical issues in Computer Music, considering both the material sources themselves (heterogeneity of sources, sketches, versions and variants), and the larger cultural implications of their creative process. It focuses on the works of six composers who worked at IRCAM in Paris and the CSC (Centro di Sonologia Computazionale dell’Università di Padova) in Italy.
In 2008, her article “The Assembling of Stria by John Chowning: A Philological Investigation” (Computer Music Journal. “The Reconstruction of Stria”, 31:3, pp.38-64, Fall 2007, MIT Massachusetts Institute of Technology) was the second most frequently downloaded Computer Music Journal article in the year preceding July 1, 2008, other than free sample articles.
She has also published the monograph Musica e famiglia. L’avventura artistica di Renata Zatti (2010); the critical edition of Renata Zatti. Invenzione musicale (2012); and the co-editions of Vent’anni di musica elettronica all’università di Padova. Il Centro di sonologia computazionale (with S. Durante, 2002); and Presenza storica di Luigi Nono (with A.I. De Benedictis, 2011).
Prior to joining the faculty at Rovigo, Vicenza and Bologna Conservatories of music (Italy), Laura Zattra taught at Padova University (history of music, philology and analysis of music, music pedagogy), and was post-doc and then senior researcher at the University of Padova (2004 – 2012). She was twice invited researcher to work at IRCAM: from the French CNRS in 2012 (Project: “Contribution à l’histoire des interactions arts/science: l’émergence de la réalisation en informatique musicale”), and in 2017 (Projet: “l’Etat de la recherche Musicale/Artistique”). She was collaborator in several research project including the Calgary University (Canada), the DeMonfort University (UK), the Sorbonne University (Paris) among others.