At that time [1974-1975] I got some interim position, replacing Teresa Rampazzi [at the Conservatory of Padua] while she had been invited abroad [at Utrecht]. In this period I also started collaborating with Wolfango Dalla Vecchia. The work we did for the program CELLE and later for the program EMUS had nearly been a school of composition, because in order to write a computer aided composition program, the understanding of every inner workings and compositional processes was implied. In those years I spent much time at the Pollini, not exactly as a student but, as a matter of fact, like one of them. After that, I think it was 1975, Sinopoli who was teaching electronic music in Venice, started his activity as a conductor and left as a teacher. I applied for an interim position, which I got.On October 1, 1975 Vidolin started his job at the Conservatory "B. Marcello" in Venice. As regards the three year "free course" in electronic music, the Ministry of Education "notified that free courses shall not exist wihtin Conservatories of Music any more. Thus, every authorized course not being listed in Tab. C of the law n.165 of 13/3/1958 are to be entitled extraordinary courses." Starting from that date the course became therefore in every respect an extraordinary course. Right away Vidolin, being aware that offering the students a minimal knowledge within one year only would not be viable, set up the course over a cycle of three years, anticipating the reform which made it spanning over four years. From the academic year 1992-1993 the enrolled students got thus their regular program lasting 4 years, with a teaching plan established by each individual Conservatory, and a regular diploma. However, the new system limited the admissions; to enrol the course in electronic music one had to be "in possession of either:
the conservatories [after the reform issued by law n.509 approved on 2 December 1999] passed under the control of the Ministry of University and Research keeping the «higher education» part only and leaving others in charge of basic music education, essentially adopting the system proposed by the the so-called «Bologna process» (education spanning over two cycles - undergraduate and graduate, academic credit system, promotion of student mobility, etc.). Maybe it is too early to evaluate the results of the reform: its application went through temporary stages which are particularly complicated (an «experimental» stage funded actively by the state, then an «experimental» stage at «no-cost», then eventually, nowadays, a reform of the course system) and it is difficult to forecast how many conservatories and which ones will be updated and overcome this period, and in which way.From the academic year 2013-2014, along the chair of Electroacoustic music performance practice held by Paolo Zavagna, the Conservatory of Venice established a second chair of Music informatics to strengthen especially the undergraduate programs, chair currently held by Giorgio Klauer.
