updated 14 March 2022
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Andrea Cera

Italian composer and sound designer born in 1969 in Vicenza.

Andrea Cera was born in Italy in 1969. He studied piano and composition at the Conservatory of Padua and participated in Cursus (the IRCAM’s computer music and composition course) before beginning his career as a composer, alternating institutional collaborations and low-budget projects.

His work is located in the field of contemporary art music and sound installation; it shows a desire to hybridize elements of what is categorized as commercial music and what is categorized as art music. In particular, he is fascinated by certain types of dance music (as well as electronic music) whose grip on body and mind seem significant to him.

He was a guest of the Fresnoy-National Studio of Contemporary Arts in Tourcoing in 2004 and 2005, which resulted in NightRun – an interactive installation whose sound material was built up from the shouts and murmurs of visitors – and Reactive Ambient Music – an installation based on real-time analysis of the ambient soundscape. In 2005, he created Mutating Score– for choreographer Hervé Robbe and in collaboration with the IRCAM – based on computer captures of voice and dance gestures. This work, along with Permis de Construire/Avis de Démolition (2000) and Rewind (2003), was part of a trilogy where the analysis and exploration of dancers’ movements and voices were a common theme for musical experimentation.

Andrea Cera has also collaborated with Gérard Chiron (for a sound collection for the “D_DAY” show at the Pompidou Center in 2005), with Romain Kronenberg on a series of songs for Hervé Robbe’s installation So long baby… Love and Songs will be in 2006, with Armando Menicacci and Christian Delecluse for the installation Terra Incognita at the Observatoire de Paris in 2006, and with the Parisian company Affari Esteri: Airports (Tenses 1) (2005), Les Avenants (2007), and Inside ##### (2009). In 2006, he was one of three finalists in the Orpheus Competition at the A. Belli de Spoleto Experimental Lyrical Theatre with Livergon. He went on to compose Distacco (2007) for that same theater, a musical theater piece based on the poems of Vincenzo M. Rippo, as well as Pigre Divinità (2008) for voice and ensemble, directed by Giorgio Pressburger. In 2007, he worked with the voice of the Reunion Island singer Danyel Waro for a new choreographic piece by Pascal Montrouge titled Superman et moi.

Cera has collaborated with Hervé Robbe on numerous plays, installations, exhibits, and choreographic pieces, notably Waves 02 in 2007, Double jeu in 2008, Un appartement en centre ville, a short film by Hervé Robbe and Vincent Bosc (2009), and Next Days in 2010. He has also worked with such artists as Marie-Laure Cazin (La tarentelle, an interactive concert-film (2009)), Elisa Zurlo and J.F. Nesplatz (for a feature film), and Gilles Boustani (theater and video performance). In November 2010, his Zoom-Up, networked music for two keyboards and real time electronics, was premiered in Paris (IRCAM) and Graz.

From 2010, Andrea Cera focuses on research and sound design projects in collaboration with Ircam, NOTAM (Oslo), Integra Project, and Infomus - Casa Paganini (Genoa). In 2011, he presented Urban Musical Game, designed with Ircam researchers (Sound Music Movement Interaction team), the design agency NoDesign and Phonotonic. In this project, augmented sports balls are used to manipulate and transform an interactive musical environment.
He also collaborates with Renault and the Perception and Sound Design team of Ircam for the creation of a sound signature for electric vehicles, as well as with Phonotonic, the SkAT-VG project (Sketching Audio Technologies using Vocalizations and Gestures) between 2014 and 2017, and is involved in a series of works for the Co.Me.DiA European Project.

In 2018, he received the « Best Sound » award in the Research and Development category at the ISA International Sound Awards, for the sound signature of the Renault Symbioz.

Andrea Cera lives in Malo, Italy, and teaches at the Conservatorio di Padova and the Accademia di Belle Arti di Brera in Milan.

© Ircam-Centre Pompidou, 2010


Site du compositeur.

Liens Internet

(liens vérifiés en mars 2022).


  • Andrea CERA, « Deliverance’, a Monster in a War Field: a Hybrid Composition Born at IRCAM », dans CHANGING SOUNDS. New Directions and Configurations in Popular Music, Editions IASPM (International Association for the Study of Popular Music), Université de technologie de Sydney, 1999 [éditeurs : Tony Mitchell and Peter Doyle with Bruce Johnson].
  • Andrea CERA, « Noir Miroir - Ambiguïtés topographiques, sociales et interactives de la musique », dans Circuit, musiques contemporaines, Volume 17 Numéro 3 : « Musique in situ », éditions Les Presses de l’Université de Montréal, 2007.
  • Nicolas DONIN, « Composer avec la popular music. Entretien avec Andrea Cera », dans les Cahiers de médiologie n°18, Editions Fayard, Paris, 2004, p. 47-52, 228 pages.
  • Andrea CERA, « Entretien avec Andrea Cera » (propos recueillis par Emanuele Quinz), En : Trance, Paris, École nationale supérieure des Beaux-Arts – Anomos, Mosign, 2007, ISBN 978 284056 245 0, pp. 108–113.
  • Andrea CERA, « Music that listens to what’s going to happen: internet enhanced, self-adapting soundscapes », ICMC International Computer Music Conference, Ann Arbor, MI: MPublishing, University of Michigan Library, Août 2008.
  • Nicolas MISDARIIS, Andrea CERA, E. LEVALLOIS, C. LOCQUETEAU, « Do electric cars have to make noise? An emblematic opportunity for designing sounds and soundscapes », Acoustics 2012 (Nantes - France, 23-27 avril 2012).
  • Nicolas RASAMIMANANA, Emmanuel FLÉTY, Frédéric BEVILACQUA, Andrea CERA, Uros PETREVSKI, Jean-Louis FRECHIN, « The urban musical game: using sport balls as musical interfaces », CHI EA ‘12 Proceedings of the 2012 ACM annual conference (Conference on Human Factors in Computing Systems), Pages 1027-1030 ACM New York, NY, USA (draft version : http://articles.ircam.fr/textes/Rasamimanana12a/index.pdf)
  • Andrea CERA, « Loops, Games and Playful Things », dans Contemporary Music Review, Volume 32, n°1, 2013, DOI:10.1080/07494467.2013.774122, pp. 29–39.
  • Nicolas MISDARIIS, Andrea CERA, « Sound signature of Quiet Vehicles: state of the art and experience feedbacks », Internoise, 2013, Innsbruck, Austria, 15–18 September 2013, pp. 1–10.
  • Andrea CERA, D. ANDREA MAURO, D. ROCCHESSO, « Sonic in(tro)spection by vocal sketching », A. Terzaroli, & A. Valle (a cura di), Extending interactivity. Atti del XXI CIM - Colloquio di Informatica Musicale (pp. 198-202). Cagliari : DADI - Dip. Arti e Design Industriale. Università IUAV di Venezia.
  • Nicolas MISDARIIS, Andrea CERA, « Recherche-projet en design sonore : le cas emblématique du véhicule électrique », Sciences du design 2017/1, n°5, Presses Universitaires de France, ISBN 9782130788577.
  • Andrea CERA, « Three years of fragments: music, sound design, and sketching ». Musica/Tecnologia, 12(1), 45-62. https://doi.org/10.13128/Music_Tec-23799.
  • S. DELLE MONACHE, D. ROCCHESSO, F. BEVILACQUA, G. LEMAITRE, S. BALDAN, & A. CERA, « Embodied sound design. International Journal of Human-Computer Studies », 118, 47–59. https://doi.org/10.1016/j.ijhcs.2018.05.007
  • Andrea CERA, « How To Remain Successfully Unsuccessful », Links, Series 3-4, Musique - Espace Habité, édité par Hervé Zénouda, pp. 25-31, http://links-series.com/n-3-4-musique-espace-habite/.
  • Nicolas MISDARIIS, Andrea CERA,William RODRIGUEZ, « Electric and Autonomous Vehicle: from Sound Quality to Innovative Sound Design », Proceedings of the 23rd International Congress on Acoustics ICA, 9-13 September 2019 in Aachen, Germany, pp. 7161-7168.
  • Andrea CERA, Nicolas MISDARIIS, « Intrusiveness, Annoyance and Sound Design » Links, Series 5-6, Marcel Proust, édité par Louis-José Lestocart, pp.186-190, http://links-series.com/wp-content/revues/LINKs_serie_5_6-Marcel_Proust-2021.pdf

(liens vérifiés en mars 2022).