Mario MARY. Doctor in “Aesthetics, Science and Technology Arts” (University Paris 8) is currently Professor of Electroacoustic Composition at the Rainier III Academy of Monaco and artistic director of Monaco Electroacoustic – International Encounters of Electroacoustic Music.
Between 1996 and 2010, he taught Computer Assisted Composition at Paris 8 University and directed the Cycle of Computer Music Concerts.
Mario MARY began his musical studies in Argentina, where he graduated as Professor of Composition at the National University of La Plata. At the same time, he studied conducting and electroacoustic music. From 1992, he moved to France and continued his training in Paris at the GRM, the Paris Conservatoire, IRCAM and the Paris 8 University. He worked as a research composer at IRCAM : AudioSculpt Cross-Synthesis Handbook and AudioSculpt treatments controlled by Open Music (graphical control interfaces).
Teacher, researcher and composer, Mario MARY has won over twenty instrumental, electroacoustic and mixed music composition awards, and has given a hundred lectures and courses in various institutions around the world. His aesthetic concerns are oriented towards a music that seeks to generate the emerging signs of the aesthetic trends of the new century. Since the 90s, he has been developing the electroacoustic orchestration technique and the concept of polyphony of space.
Le sophistiqué son du Dasein. The philosopher Martin Heidegger defined the subject (man) as Dasein (being-there). This individual who has been thrown into this world without having chosen either the conditions or the context with which he will have to start his life, will gradually make all kinds of decisions that will result in him leading an “inauthentic life” governed by a conventional and ordinary everyday life, or an “authentic life” where he asks himself questions about being and where he follows his own path. Of all the possibilities that open up to Dasein, there is one that is inescapable, that of his own death. But, despite the fact that Dasein understands that one day he will die, he decides to do something with his life.
Although these few words reduce the enormous depth of some of the aspects of Heidegger’s thought, they can serve us to understand the spirit of the conception of this composition. This music embodies an authentic approach in the sense that it is concretized through personal techniques, as well as a thoughtful work to express the electroacoustic art and the world of today. Electroacoustic orchestration and the polyphony of space are two techniques that permeate my work. In this piece, I focused on the quality of sound materials, the essential essence of electroacoustic art. And I have also given a special interest to the musical discourse which makes us cross the different sections of the piece in a fluid way.