Research

Composition of immersive musical experiences and sound spaces

Articles published in peer-reviewed journals

  • Fraisse, V., Giannini, N., Guastavino, C., & Boutard, G. (2022). Experiencing sound installations: a conceptual framework. Organised Sound. 1-16. Link.
  • Boutard, G., Guastavino, C., Bernier, N., Gauthier, P.-A., Fraisse, V., Giannini, N., & Champagne, J. (2022). Review of contemporary sound installation practices in Québec. Resonance, 3 (2), 177-193. Link.

Proceedings of peer-reviewed conferences

  • Giannini, N. (2023), Immersive spatialized live music composition with performers: a case study, Le vent qui hurle, 2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA). Bologna, Italy, 2023, pp. 1-11, doi: 10.1109/I3DA57090.2023.10289287 Link.
  • Normandeau, R., Giannini, N., Lane Lépine, G. (2023). Développements récents d’outils de spatialisation sonore du GRIS : ControlGRIS et SpatGRIS, Journées d’Informatique Musicale (Sélectionné pour publication dans la Revue Francophone d’Informatique Musicale). Link.
  • Giannini, N. (2020) Eyes Draw Circles of Light. Xcoax 2020: Proceedings of The Eighth Conference on Computation, Communication, Aesthetics & X, p. 424-426 Link.

Conferences

  • MapSPAT, a real-time spatialization tool based on sound variations, CIRMMT RA4 Spatial Audio Workshop, MMR, CIRMMT, Montréal, Canada, 23/02/2024.
  • Immersive spatialized live music composition with performers: a case study, Le vent qui hurle. I3DA 2023, International Conference on Immersive and 3D Audio, Bologna, Italy, 5-7 September 2023.
  • MapSpat, un outil numérique qui permet de spatialiser le son en temps réel à l’aide de l’analyse des descripteurs audio – Colloque Étudiant COBS – Pavillon de musique – Université du Québec à Montréal (UQAM) 26 May 2023.
  • La composition de musique immersive spatialisée. Des réflexions autour des aspects théoriques et pratiques dans le contexte de la musique en direct et acousmatique – Colloquium d’études supérieures en composition et création sonore – Faculté de musique, Université de Montréal – 13 April 2023.
  • La partition d’Expansion, pour blocs de glace amplifiés et spatialisation interprétée par le quatuor des percussionnistes Architek. Table ronde séminaire MUS6105 – Composer et interpréter la musique mixte, 17 November 2022.
  • Composition de musique immersive, mon approche en recherche-création – Colloque Étudiant COBS, 24 May 2022
  • Immersive music composition, towards a primacy of perception, Spatial Audio Meetup, Notam, online, 11 June 2021.
  • Composition de la musique immersive, Canadian League of Composers, online, 9 December 2020.
  • Composition de la musique immersive, vers une primauté de la perception, Colloquium d’études supérieures en composition et création sonore – Faculté de musique, Université de Montréal, online, 1 October 2020.
  • Composizione di musica immersiva: un approccio orientato alla percezione, Liceo Musicale Cicognini – Rodari – Prato, Italy, online, 5 June 2020.
  • Composition de la musique immersive: vers la primauté de la perception – Musique de création et technologies – Faculté de musique de l’Université de Montréal, online, 26 March 2020.
  • Autour et à l’intérieur de la matière sonore, composition et perception de la musique immersive. Colloquium d’études supérieures en composition et création sonore – Faculté de musique, Université de Montréal, 22 November 2018.

Workshop

  • Atelier sur SpatGRIS avec Robert Normandeau, Tempo Reale, Florence, Italy, 28 September 2023.
  • Atelier de spatialisation sonore immersive à l’aide de SpatGRIS3 – Le son du futur / le futur du son – CIRMMT – Faculté de musique de l’Université de Montréal – 24 May 2022, with Mélanie Frisoli.
  • Atelier de spatialisation sur dôme – Salle Claude Champagne – Faculté de musique de l’Université de Montréal, 23 February 2022.

Research groups and projects

  • Since September 2018, I have been a research assistant in the Groupe de recherche en immersion spatiale (GRIS) in the Faculty of Music at the University of Montreal, directed by Robert Normandeau.
  • I was a research assistant for the SAD-SASK project from October to December 2020. This project aims to evaluate the use of spatial audio for the documentation of sound art installations. The principal investigator of the project is Guillaume Boutard and the co-director is Catherine Guastavino.
  • During the winter and summer semester of 2022, I worked as an immersive music composer for the project Nuages – Embodied Meaning, focused on the realization of an immersive audiovisual performance using a tangible interface. Project conception: Yan Breuleux. Direction of the musical composition: Myriam Boucher.

Related experiences

  • From September 2022 to April 2023, I participated in the workshop series “Composing Fixed-media Multichannel Music on a Hybrid Loudspeaker Array” coordinated and directed by Pierre Alexandre Tremblay at the MMR of CIRMMT.
  • In February 2023, I was part of a focus group organized by the Canadian Electroacoustic Community to review and update texts related to the JTTP project, particularly with respect to issues of inclusion and diversity.
  • From September 2019 to September 2022, I was one of the student coordinators at the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), for research axis 4:Expanded Musical Practice.
  • I was a jury member for the JTTP competition organized by the CEC (July 2021).
  • During the Nuit blanche Montréal 2020, I was the technical director for André Éric Létourneau’s spatialized piece, Avant le mal scintillant.
  • From January 2019 to January 2020, I was the technical assistant for the Ultrasons series at the Faculty of Music of the University of Montreal.