Bio

I am a musician, whose activities encompass performance, sonic arts and sound design, with interests for languages, visual arts and cinema.



Background

I began training as a violinist and pianist at Nantes Conservatory from my childhood. As I later became involved with pop and experimental bands, I began to write, arrange as well as play guitar, drums, explore analog synthesizers. After a brief foray into philosophy studies and humanities, I graduated in Musicology at Paris IV - Sorbonne University, and in Musical Acoustics at Paris National Superior Conservatory, where my main interests were early music, ethnomusicology (with a focus on japanese, indian, and balinese music), contemporary music, microtonal music, psychoacoustics, and music perception. While studying sound processing, acoustics, analysis, computer assisted composition and orchestration at conservatories, or at IRCAM workshops, I also trained as a lyric singer. When I was forced to leave professional singing behind, I eventually chose to redirect my energies and pursue a Sound Design Ma. This was started in France, and finished in Northern Ireland at SARC, while working as a professional for the industry. As I became once again immersed in musical life, I was drawn back to the idea of musical performance. I impulsively chose the saxophone as my new instrument, which has become a fundamental piece at the core of my musical life. After starting a Phd at Virginia Tech, I returned to Europe to focus on spatial audio, sonification, and intallation-based projects, as well as instrumental performance and electronic music.

Sonic Art and Sound Design

My cultural, academic, and artistic training has led me to develop a proficiency for analysis, abstraction, and conceptualization, while providing me with a methodology that nurtures my work. This background has also allowed me to develop an original aesthetic sensibility that roots in cultural pluralism, curiosity, and tradition, but that also integrates the dialectics of technique and technological evolutions, and emerging tools and languages. My broad range of experiences have influenced my approach to sound and choice of projects, from composition and sonification to installation. I am driven to fully understand and explore the possibilities presented by all the tools at my disposal. These include instrumental performance, recording, sequencing, differed time and live sound processing, interaction, various techniques of spatialization and synthesis, or multimedia programming environments. My work in science and technology oriented fields, as well as curiosity, have developed my ability to adapt, to self-educate, and to communicate with collaborators from diverse artistic or engineering backgrounds. I consider any material from a musical standpoint, and any method a tool for a new language in the making. All the while, I strive to question the aesthetic validity and integrity of my own work in order to maintain a high standard of artistry and professionalism. .

Work Ethics

As a sound designer, my scope of knowledge allows me to explore and to implement the solutions to a given problematic in a way that is informed, ecologic, functional, and aesthetically original. As a sound artist, this diverse understanding drives me to develop various types of projects in a structured, exploratory way, while incorporating a poetic and empiric knowledge of sound material, and a performer's experience. I therefore seek to get involved with other artists to enrich my reflexion and achieve works with features of their own, beyond the boundaries of my speciality. In all respects, I strive to recognize that technical skills are merely tools in the service of the art, and not the other way around. Whether art expresses a reflection, a discourse, an inner necessity, an energy, it should generate a dynamic, a dialectic relationship with the development of tools rather than being driven or modeled by them. Hence, artistic creation seems all the more challenging, given the evolution rate of technologies that are most of the time extrinsic to it, and how easy it can be to substitute a simple knowledge and implementation of software, for example, in place of a structuring and of a true artistic expression. Not being a developer or maker at heart, but rather an intellectually curious and perpetually learning musician, I consider this challenge to be one that is well worth undertaking.

Proficiency
MUSIC
  • Performance
  • Orchestration
  • Composition
  • Auditory Analysis
  • Score Analysis
  • Transcription
SONIC ARTS
  • Spatial Audio Implementation
  • Programming
  • Sound Analysis
  • Differed & Real Time Processing
  • Recording/Sequencing
SOUND DESIGN
  • Psychoacoustics & Cognition
  • Conceptualization
  • Sonification
  • Interactive Installations
  • Collaboration with Ingeneers
  • Industrial Design
  • Writing
TOOLS
  • MaxMSP/PD
  • CSound
  • Audiosculpt
  • Finale
  • Protools Live
  • Processing (basics)
  • OpenMusic (basics)

Coralie Diatkine
Musician, Sound Artist & Designer

info [@] coraliediatkine [dot] eu
Write to me!

72 rue des Orteaux
75020 Paris France

Copyright © 2014 Coralie Diatkine
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