New Musical Writing Processes for Cinema

Author Biographies

• Roberto Calabretto, University of Udine

  Formerly a lecturer in History of Music in Italian Academies of Music, Roberto Calabretto is currently Full professor of Music in Audio-visuals and History of Music at the University of Udine. His research activity initially focused on Italian twentieth century music. Since the Nineties, his academic interest has been centred almost exclusively on music for films, starting from a study of major film music composers and directors. His textbook Lo schermo sonoro. La musica per film (The Sound Screen. Music for Films) (Marsilio 2010) received widespread critical acclaim and has been used in many university courses; it has reached the seventh edition. Calabretto is a member of the following scientific boards: Archivio Nino Rota (since 2016) and Luigi Nono Archive (since 2019); he chairs the scientific committee of the Foundation Ugo e Olga Levi in Venice (since 2019).

• Luca Cossettini, University of Udine

  Luca Cossettini is Associate Professor in musicology and the history of music at the University of Udine (Italy), where he teaches about electronic music, audio restoration, and music publishing. He studies the influence of audio technology on compositional processes in the second half of the twentieth century, with the aim of laying the foundation for a critical and analytical methodology capable of interpreting, analyzing, and critically editing electronic and mixed music. He is the scientific coordinator of the MIRAGE Lab (http://mirage.uniud.it/), which is dedicated to the preservation, restoration, and reissue of recorded music.

• Donald Greig, University of Nottingham

  Donald Greig is a versatile professional singer and currently a Lay Clerk at Canterbury Cathedral. He was a co-founder of The Orlando Consort with whom he sang for 35 years, a member of The Tallis Scholars for over 25 years, and is an active session singer. He is a former lecturer in film studies and semiology, and received his doctorate in music from the University of Nottingham. He is currently writing a book on the production, reception, and musical remediations of La Passion de Jeanne d’Arc (Carl Theodor Dreyer, 1928).