What is your dissertation project about?
I approached composition through the notion of a “composable space,” inspired by Horacio Vaggione, framing it as a dynamic field where sound, performative gesture, and technology interact. My research focused on artistic methods such as symbolic granulation, sonic translation, multidimensional dispositives and instrumental feedback. Works like Campo amniótico – featuring hybrid instruments and digitally mediated feedback – embody this approach, where musical form emerges through experimentation, spatial configuration, and engagement with the material conditions of sound-making.
In which way did the Malmö Academy of Music and IAC as the Faculty’s research infrastructure helped you to successfully carry out your artistic research?
The Malmö Academy of Music and IAC provided an inspiring and supportive environment for my artistic research. Access to high-quality sound equipment, studios, and advanced technologies at IAC was crucial in developing complex works involving electronics and hybrid instruments. Equally important was the regular interaction with peers and mentors, fostering a sense of community and shared inquiry. The interdisciplinary exchange with PhD candidates from other artistic fields enriched my perspective, offering new insights and encouraging dialogue across practices. This dynamic context deeply shaped my thinking and making throughout the research process.
What's next?
I plan to extend my research by developing new works through the artistic methods outlined in the thesis –sonic realism, sonic materialism, and phonobiographical approaches. One direction involves further developing Memoria de pajarito, exploring the overlap between migratory patterns of birds and seasonal workers. Inspired by Mignolo’s “epistemic disobedience,” I aim to question dominant knowledge systems through sonic practice, engaging with cultural and epistemic disobedience as compositional strategies that open alternative pathways for music-making, listening, and knowledge production.
ABOUT
Fernando Garnero is an Argentinian composer, co-director of Swiss ensemble Vortex, Guest Artist by Festival BIFEM (2019-2020), and former Fellow at the French Academy in Rome, Villa Medici (2020-21).
His works were played by Contrechamps, Vortex, Accroche Note, Phoenix, Proton, Repertorio Zero, Cairn, Lucilin, Distractfold, Wet Ink, L’imaginaire, Françoise Rivalland, Donatienne Michel-Dansac, on festivals such as Biennale de Venezia, Musica, Huddersfield, Archipel, Unerhoerte Musik Berlin, Mixtur, Warsaw Autumn and commissioned by Biennale de Venezia, Festival Archipel, SUISA, Fondation Mika Salabert, Fondation Royaumont, Radio France, French Ministry of Culture, Teatro Colón, among many others.
Read and download Fernando Garnero's dissertation here – portal.research.lu.se
Read more about Fernando Garnero in the Lund University Research Portal – portal.research.lu.se
Artistic presentation (concert): 11 May 2025, at 18:00, location: Red Room Read more about the artistic presentation here
Public defense: 12 May 2025, at 10:00, location: Red Room Read more about the public defense here
Research title: “Mutations in the Composable: Compositional Practice as a Space of Experimentation, Tension, and Uncertainty"
Location: Inter Arts Center, Red Room, 4th floor, Bergsgatan 29, Malmö
Zoom: The defence is open to the public and it is possible to participate via Zoom. The link will be announced soon.
Opponent: Professor Andrea Valle, University of Turin
Main supervisor: Kent Olofsson
Second supervisor: Michael Edward Edgerton