Ricardo Mandolini

Virtual Courses of Electroacoustic Music Composition


The encounter between the sound on one side and the creator on the other side is a magical unique moment. It is impossible to replace or change this sound for another one. Why is that? As George Berkeley used to say, the taste of an apple is not contained within the apple itself, nor is it in our tongue; it is the relationship between the two that generates its taste. Replace the sound with another one and you will have changed the universe of things happening and interacting in between. Musical sound is not only a vibration; it’s a detonator of feelings and associations.

That is why electroacoustic music is the antipodes of algebra; the latter seeks for variables designating exchangeable objects of this world, while our discipline looks for irreplaceable sounds triggering the feelings of the listeners. Finding these sounds means recognizing who you are while also recognizing the technique that is required for its development, the form of the future work and also the public that will thrill and resonate with the work. All of this is made obvious when the miraculous instant occurs when the composer and the sound come together.

From this encounter between the two there arises a creative gesture that is both individual and universal; unknowingly and unintentionally we compose for all people and for all ages.

As a consequence, my philosophy of electroacoustic music composition is not merely grounded on the absolute value of sound materials, nor in the techniques of production and the processing of sound. What is essential to me is what happens between sound materials, the interactions between them and the countless effects that emerge from them.


The weekly virtual courses are individual. The duration of each course depends on its content but it will last at least forty minutes. The composers who work with me first send me their exercises that I analyse and discuss with them during the course. All this is done taking into account the composition of a piece.

For registration, go to  ricardomandolini@gmail.com.

Virtual courses are delivered through Skype by ricardo.mandolini@club-internet.fr

Complete works are later on downloaded in our international composers’ Facebook group Thinking the praxis of electroacoustic music (please look up our Facebook page USP or our profile Univers Sonores Parallèles).

Independently from the course, I am now working on several videos as a complement to the electroacoustic music composition based in ProTools. These videos will soon be available on line.


Ricardo Mandolini

• Composer
• Professor of Lille SHS University, France.
• Creator of the musicological discipline Musical Heuristics
• Magisterium Prize, Bourges’ International Electroacoustic Music Competition, 2002
• Grand Prix des Arts de Lille 2013
• Co-organizer with María Cristina Kasem of SIME’S yearly competition‌ and international electroacustic music week.
• Head of the electroacoustic music Studio – University Lille SHS

. Profesor de composición, Antiguo Conservatorio Beethoven, Buenos Aires, 1973
. Kunstlerische Reifeprüfung, Musikhoschule Köln, Germany, 1983
. Doctorat, Paris VIII University, 1988
. Habilitation à diriger des recherches, Sorbonne, Paris, 1993

. Heuristique Musicale, contributions pour une nouvelle discipline musicologique, (Musical Heuristics, contributions for a new musicologic discipline), Delatour France editions, 2012.
. Réflexions Critiques, l’heuristique musicale et les compositeurs, (Critical reflections, the musical heuristics and the composers), Éditions Universitaires Européennes, Omnisciptum mbH & Co. KG, Sarrebruck, Germany, 2013.

. “Musical Heuristics, contributions for the understanding of creative musical processes”, in Oxford Handbook of Philosophy in Music Education, Wayne Bowman and Lucia Frega editors, Oxford University Press, 2012.
. “Heurística y arte, una contribución para la comprensión de los procesos artísticos creativos” (“Heuristics and Arts, contributions for the understanding of creative musical processes”) in Revista de Humanidades de Valparaíso, Adolfo Vera et Juan Redmond editors, Insititute of Philosophy, Valparaiso University, Chile, 2013.
.“Semiología musica y musicología : aportes de la filosofía de la complejidad” (“Semiology, music and musicology, contributions from the complexity theory”) in Revista Panambí , Valparaiso University, Chile, 2016.

Videos: Interview with Alexandre Dupretz


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