Lecturer in Composition and Music Technology
Odilon Marcenaro was born in Amsterdam. He began his musical studies on the recorder and bassoon, before embarking on a degree course in Music Technology at the Utrecht Conservatoire’s Academy of Art, Media and Technology. He graduated in 1996, specialising in sound design, computer aided composition and sound recording. In the late ‘80s and early ‘90s he was involved in running an independent music label and co-owner of a small but prolific home recording studio.
After undertaking work experience at the electronic music studios of the University of Amsterdam and the Sweelinck Conservatoire, he followed Professor Leigh Landy to Bretton Hall College of the University of Leeds, where he worked as a researcher into Music Technology for visually impaired users. During this time, he was also active as composer and sound diffusion specialist.
In 1996, Odilon was appointed Head of Music at the North Shropshire College in Oswestry, teaching A level Music and Music Technology. In 1998, he became Studio Manager for the languages section of BBC World Service Radio at Bush House in London.
Odilon joined the Royal Welsh College of Music & Drama in 2001 as a lecturer in Creative Music Technology. His specialisms include sound recording, radio production, programming in Max/MSP, electronics hacking and all aspects of sound synthesis, particularly modular synthesizers. He has a particularly strong interest in debunking the more esoteric aspects of sound technology.
Odilon has been involved in teaching and training for more than thirty years. He is a Fellow of the Higher Education Academy.
Odilon has worked with the National Museum Wales on the music for their ‘Tim Peake’s Spacecraft and virtual reality experience’ exhibition (2018-19). He has helped to organise the Atmospheres Music Festival at RWCMD (2014-2020). Odilon has also served as an adjudicator for Best Sound Design for Bafta Cymru (2013).
Odilon’s research encompasses electronic composition as well as solutions to challenges presented by the increasing reliance of performance on technology. His adaptations for Boulez’s ‘Dialogue de l’ombre double’, which specifies use of equipment that is now obsolete, have allowed for a version that can be staged anywhere without the encumbrance of a set of technical requirements. For National Theatre Wales, he created a device that would translate the heartbeat of an actor into the tempo information for the soundtrack of the production. These and other innovations lie at the heart of Odilon’s practice.