Maurilio Cacciatore is a composer, researcher, and professor of electroacoustic music composition. His artistic research explores the relationships between acoustic instruments, digital technologies, sound spatialisation, and the design of new musical devices. Through computer programming, live electronics, and the use of transducers, feedback systems, and electromechanical objects, he creates environments in which instrumental gesture extends into technological, spatial, visual, and performative dimensions. The result is a complex, multilayered compositional language situated between acoustic sonorities, resonant phenomena, and electronic transformations, in which the design of the technological apparatus forms an integral part of compositional thought.
He studied with Fabio Cifariello Ciardi and Ivan Fedele and completed Cursus I and II in composition and computer music at IRCAM in Paris. He received his PhD with distinction in Science and Technology of the Arts from the Universidade Católica Portuguesa in Porto, in collaboration with the Electronic Studio of the Hochschule für Musik Basel, with research devoted to electroacoustic technologies applied to composition and performance.
He has been composer-in-residence at IRCAM and La Muse en Circuit in Paris, ZKM in Karlsruhe, the Electronic Studio in Basel, the SWR Experimentalstudio in Freiburg, Art Zoyd Studios, Les Percussions de Strasbourg, Musinfo, and the Milano Musica Festival. These residencies enabled him to develop his research into computer-assisted composition, mixed music, sound spatialisation, electroacoustic feedback, and augmented instruments.
In 2010, he received the Goffredo Petrassi Prize from the Presidency of the Italian Republic; in 2012, he was awarded first prize at the Premio Trio di Trieste International Composition Competition. In 2016, Meccanica dei riflessi ovvero dell’amore represented Italy at the International Rostrum of Composers. In 2017, Meccanica degli avatar received the Produktion Preis within the Giga-Hertz-Preis at ZKM Karlsruhe.
His music has been presented at Italy’s leading festivals devoted to contemporary music, electroacoustic research, and interdisciplinary creation, including the Venice Biennale Musica, Milano Musica, Ravenna Festival, Festival di Nuova Consonanza, Festival Pontino, Traiettorie, Mittelfest, Trieste Prima, SIMC Festival, and Veneto Festival.
His works have been performed by internationally renowned institutions, orchestras, ensembles, and soloists, including the Orchestre Philharmonique de Radio France, Orchestre National de Lorraine, Les Cris de Paris, Orchestra dei Pomeriggi Musicali di Milano, Ensemble Intercontemporain, SWR Experimentalstudio, I Solisti Veneti, Les Percussions de Strasbourg, HANATSUmiroir, Accroche Note, Ensemble Linea, Ensemble Proxima Centauri, Kammerorchester Basel, Ensemble Phoenix Basel, Contempoartensemble, and Sentieri Selvaggi.
His most recent work further investigates the integration of sonic dramaturgy, immersive technologies, new performative devices, and visual elements. Touching the Air (2025), commissioned by HANATSUmiroir, combines flutes, live electronics, video, and the Larsen Station, a modular system composed of resonators, transducers, and vibrating surfaces. Through this device, electroacoustic feedback is controlled by the movements of the hands and the position of the body in space, transforming interaction with the sound field into a structural element of the composition.
Il peso del cielo (2025), for solo violin and live electronics, was composed for Francesco D’Orazio and presented at the Festival di Nuova Consonanza. The work investigates the continuity between instrumental gesture, sound projection, and electronic layering, creating an immersive environment in which the presence of the soloist is multiplied and reconfigured throughout the space. Inside, Insight (2025), for violin, viola, and live electronics, also belongs to this period.
For Elvira Notari’s silent film È Piccerella, he composed a new score with live electronics, presented in Beirut in 2025 and at the Ravenna Festival in 2026. The composition reinterprets Notari’s cinematic language through a musical dramaturgy integrating instruments, electronic synthesis, sampling, and real-time sound transformation.
In 2026, as part of the Ravenna Festival, he presented Fragmenta vocis, an electroacoustic project created in dialogue with contributions by art historian Jacopo Veneziani and developed through the transformation of Eastern Christian chants performed by Marie Keyrouz. The work reflects on the voice as trace, matter, and memory, unfolding through processes of fragmentation, granulation, and recomposition of the vocal spectrum.
In the same year, he composed Grammelot, for string orchestra and live electronics, dedicated to I Solisti Veneti and presented at the Veneto Festival as part of the production Grammelot Musicale, featuring Paolo Rossi and marking the centenary of Dario Fo’s birth. The composition offers a musical investigation of grammelot vocality, its rhythmic articulations, and the relationship between theatrical gesture, phonetic material, and orchestral writing.
In 2025, SZ Sugar released the recording of Trilogia dei folletti, a cycle composed between 2019 and 2023 that documents a central phase of his instrumental, visual, and electroacoustic research. The trilogy integrates amplified instruments, live electronics, generative video, resonating devices, and unconventional modes of performance.
Maurilio Cacciatore is Professor of Electroacoustic Music Composition at the Agostino Steffani Conservatory in Castelfranco Veneto, where he serves as Head of the Department of Music and New Technologies. His academic activity encompasses the training of composers and sound artists, the supervision of research projects, the design of international educational programmes, and the development of new interfaces for musical expression.
In 2017, he contributed to the design and establishment of the CIMM – Centre for Computer Music and Multimedia of the Venice Biennale. From 2018 to 2020, he worked at the centre as a computer music tutor, supporting the selected composers in the development and production of the electronic components of their projects.
In 2024, he served as guest editor of the academic journal Musica/Tecnologia, published by the University of Florence, curating an issue devoted to electroacoustic feedback in mixed music. The editorial project brought together contributions from composers, performers, and researchers, examining feedback not only as a technical phenomenon but also as a compositional, performative, and organological principle.
In 2026, he presented the paper The Larsen Station: A Customizable Module Setup for Integrating Electroacoustic Feedback in Chamber Music at the International Conference on New Interfaces for Musical Expression – NIME. The research formalises the technological, performative, and compositional outcomes developed through the Larsen Station, proposing a modular and reconfigurable system for integrating electroacoustic feedback into chamber music.
He also coordinates international projects devoted to audiovisual composition, soundscape research, and cooperation between academic institutions, including The Sound of Venice (2023), The Sound of Alentejo (2024), and E.C.O. – Elettronica Condivisa Online (2026).He is among the founders of Syntax Ensemble, a Milan-based formation for which he is responsible for the electronics and contributes to artistic planning. Through the ensemble, he promotes new productions, commissions, residencies, and collaborations devoted to contemporary music, music theatre, and the integration of instruments and technologies.His work as a composer, researcher, and educator regularly takes him across Europe, Asia, Africa, North America, and Australia. His music is published by SZ Sugar.
He studied with Fabio Cifariello Ciardi and Ivan Fedele and completed Cursus I and II in composition and computer music at IRCAM in Paris. He received his PhD with distinction in Science and Technology of the Arts from the Universidade Católica Portuguesa in Porto, in collaboration with the Electronic Studio of the Hochschule für Musik Basel, with research devoted to electroacoustic technologies applied to composition and performance.
He has been composer-in-residence at IRCAM and La Muse en Circuit in Paris, ZKM in Karlsruhe, the Electronic Studio in Basel, the SWR Experimentalstudio in Freiburg, Art Zoyd Studios, Les Percussions de Strasbourg, Musinfo, and the Milano Musica Festival. These residencies enabled him to develop his research into computer-assisted composition, mixed music, sound spatialisation, electroacoustic feedback, and augmented instruments.
In 2010, he received the Goffredo Petrassi Prize from the Presidency of the Italian Republic; in 2012, he was awarded first prize at the Premio Trio di Trieste International Composition Competition. In 2016, Meccanica dei riflessi ovvero dell’amore represented Italy at the International Rostrum of Composers. In 2017, Meccanica degli avatar received the Produktion Preis within the Giga-Hertz-Preis at ZKM Karlsruhe.
His music has been presented at Italy’s leading festivals devoted to contemporary music, electroacoustic research, and interdisciplinary creation, including the Venice Biennale Musica, Milano Musica, Ravenna Festival, Festival di Nuova Consonanza, Festival Pontino, Traiettorie, Mittelfest, Trieste Prima, SIMC Festival, and Veneto Festival.
His works have been performed by internationally renowned institutions, orchestras, ensembles, and soloists, including the Orchestre Philharmonique de Radio France, Orchestre National de Lorraine, Les Cris de Paris, Orchestra dei Pomeriggi Musicali di Milano, Ensemble Intercontemporain, SWR Experimentalstudio, I Solisti Veneti, Les Percussions de Strasbourg, HANATSUmiroir, Accroche Note, Ensemble Linea, Ensemble Proxima Centauri, Kammerorchester Basel, Ensemble Phoenix Basel, Contempoartensemble, and Sentieri Selvaggi.
His most recent work further investigates the integration of sonic dramaturgy, immersive technologies, new performative devices, and visual elements. Touching the Air (2025), commissioned by HANATSUmiroir, combines flutes, live electronics, video, and the Larsen Station, a modular system composed of resonators, transducers, and vibrating surfaces. Through this device, electroacoustic feedback is controlled by the movements of the hands and the position of the body in space, transforming interaction with the sound field into a structural element of the composition.
Il peso del cielo (2025), for solo violin and live electronics, was composed for Francesco D’Orazio and presented at the Festival di Nuova Consonanza. The work investigates the continuity between instrumental gesture, sound projection, and electronic layering, creating an immersive environment in which the presence of the soloist is multiplied and reconfigured throughout the space. Inside, Insight (2025), for violin, viola, and live electronics, also belongs to this period.
For Elvira Notari’s silent film È Piccerella, he composed a new score with live electronics, presented in Beirut in 2025 and at the Ravenna Festival in 2026. The composition reinterprets Notari’s cinematic language through a musical dramaturgy integrating instruments, electronic synthesis, sampling, and real-time sound transformation.
In 2026, as part of the Ravenna Festival, he presented Fragmenta vocis, an electroacoustic project created in dialogue with contributions by art historian Jacopo Veneziani and developed through the transformation of Eastern Christian chants performed by Marie Keyrouz. The work reflects on the voice as trace, matter, and memory, unfolding through processes of fragmentation, granulation, and recomposition of the vocal spectrum.
In the same year, he composed Grammelot, for string orchestra and live electronics, dedicated to I Solisti Veneti and presented at the Veneto Festival as part of the production Grammelot Musicale, featuring Paolo Rossi and marking the centenary of Dario Fo’s birth. The composition offers a musical investigation of grammelot vocality, its rhythmic articulations, and the relationship between theatrical gesture, phonetic material, and orchestral writing.
In 2025, SZ Sugar released the recording of Trilogia dei folletti, a cycle composed between 2019 and 2023 that documents a central phase of his instrumental, visual, and electroacoustic research. The trilogy integrates amplified instruments, live electronics, generative video, resonating devices, and unconventional modes of performance.
Maurilio Cacciatore is Professor of Electroacoustic Music Composition at the Agostino Steffani Conservatory in Castelfranco Veneto, where he serves as Head of the Department of Music and New Technologies. His academic activity encompasses the training of composers and sound artists, the supervision of research projects, the design of international educational programmes, and the development of new interfaces for musical expression.
In 2017, he contributed to the design and establishment of the CIMM – Centre for Computer Music and Multimedia of the Venice Biennale. From 2018 to 2020, he worked at the centre as a computer music tutor, supporting the selected composers in the development and production of the electronic components of their projects.
In 2024, he served as guest editor of the academic journal Musica/Tecnologia, published by the University of Florence, curating an issue devoted to electroacoustic feedback in mixed music. The editorial project brought together contributions from composers, performers, and researchers, examining feedback not only as a technical phenomenon but also as a compositional, performative, and organological principle.
In 2026, he presented the paper The Larsen Station: A Customizable Module Setup for Integrating Electroacoustic Feedback in Chamber Music at the International Conference on New Interfaces for Musical Expression – NIME. The research formalises the technological, performative, and compositional outcomes developed through the Larsen Station, proposing a modular and reconfigurable system for integrating electroacoustic feedback into chamber music.
He also coordinates international projects devoted to audiovisual composition, soundscape research, and cooperation between academic institutions, including The Sound of Venice (2023), The Sound of Alentejo (2024), and E.C.O. – Elettronica Condivisa Online (2026).He is among the founders of Syntax Ensemble, a Milan-based formation for which he is responsible for the electronics and contributes to artistic planning. Through the ensemble, he promotes new productions, commissions, residencies, and collaborations devoted to contemporary music, music theatre, and the integration of instruments and technologies.His work as a composer, researcher, and educator regularly takes him across Europe, Asia, Africa, North America, and Australia. His music is published by SZ Sugar.