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Articulos / Articles

Combining Peformers with Soundtracks: Some Personal Experiences
Por/By: Barry Truax
The author describes his creative experiences over the past 45 years in combining live performers with fixed electroacoustic soundtracks, and discusses the problems inherent in such mixed works, as well as the compositional approaches that create new relationships between the performer and the pre-recorded material. The article concludes with advice on practical considerations that are typically involved in such works, for both the composer and performer, within an evolving technological and artistic context. ... leer/read

An Evolving Collaboration: Performer and Composer Approaches to Creating Visual Music
Por/By: Nicole Canham and Carlos López Charles
This article aims to identify the key factors that contributed to an evolving collaborative practice between a performer (Canham) and a composer (López Charles). Three new works for clarinet, electronics and video, presented as case studies, form the basis of this study. Journals, artifacts including sound recordings of experiments, rehearsals, performance documentation and joint reflection will allow the researchers to describe and reflect upon the evolution of their collaborative practice as it unfolded. ... leer/read

Música mixta: problemáticas presentes en el proceso compositivo e interpretativo de Estudio para flauta dulce y electroacústica
Por/By: Marcelo Zanardo y Alejandro Brianza
El presente artículo explicita el proceso de trabajo entre Marcelo Zanardo y Alejandro Brianza por medio del cual concretaron la obra Estudio para flauta dulce y electroacústica, una obra de música mixta para flauta dulce y electroacústica fija sobre soporte. La interacción entre instrumentos acústicos y sonidos electroacústicos supone una serie de problemas que influyen tanto a intérpretes como a compositores. Desde el proceso compositivo, la elección de generar o no la banda electroacústica a partir de sonidos propios del instrumento, la organización temporal y el uso de técnicas extendidas para abarcar todo el potencial tímbrico son algunas de las decisiones a tomar. Desde el punto de vista del intérprete, el manejo de las técnicas extendidas que proponga el compositor, el adecuar el discurso sonoro al material electroacústico sin tener posibilidad de flexibilidad temporal alguna, ya que la banda se encuentra fija en un soporte y la lectura de una partitura en paralelo a un monitor con cronómetro son algunas de las problemáticas que surgen para estudiar la obra y posteriormente performatizarla. A partir del análisis de la experiencia compositiva e interpretativa, se realizó un trabajo de pormenorización de los obstáculos planteados pensando firmemente en las problemáticas compartidas por todo el repertorio de música mixta, tanto para la creación como para su interpretación. ... leer/read

La música mixta: perspectivas pedagógicas
Por/By: Andrea Cohen
Para examinar las perspectivas pedagógicas de la música mixta voy a presentar en este artículo el taller de música mixta que he creado y dirigido en el Conservatorio de Vitry-sur-Seine, entre 2006 y 2014. ... leer/read

An Exploratory Conceptual Framework of Recommended Practices for the Sustainability of Electronic Music Repertoire
Por/By: Jeremy Castro Baguyos
Sustainability, an electronic music work's chance of surviving far into the future, even if the composer and the performer at the première are no longer supporting the work and the implementation technology has long become obsolete and/or unavailable, is central to the continued performance of electronic music repertoire. Currently, it is difficult for performers of electronic music repertoire (especially interactive computer music repertoire), who were not the composers or performers at the première to recreate a performance in the future, partly because many real-time interactive computer music works utilizing live processing cannot be easily preserved due to the quick obsolescence of the technological platforms upon which many electronic music works are created. ... leer/read

Thoughts on Notational Practices in Electroacoustic Music Performance
Por/By: José Luis Manrique Yáñez and Felipe de Almeida Ribeiro
The goal of this article is to raise significant questions on aspects of electroacoustic music notation and perrmance, whether by a traditional instrumentalist or a sound technician. In this sense, electroacoustic music performance is directly related to the problem of notation, assuming that composer and performer are different persons. Therefore, this research deals with questions and critiques on important aspects of the performance and diffusion of electroacoustic music. Works by Stockhausen, Nono, Berio, and Ligeti were investigated to better illustrate the research topic. This research was made possible through the Núcleo Música Nova research group and with the kind support of CNPq1. ... leer/read

Understanding Performance with Electronics and Beyond: Historical Overview, Significant Pieces and the Influence of Visual and Performing Arts in the Repertoire for Cello with Electronics and Mixed Media
Por/By: Sergio Castrillón
This article looks at the understanding of playing and mixing the cello with electronics or any other media that generates sound, especially sound that does not come from what is considered a conventional instrument. Furthermore, this article refers recurrently to timbre, in order to understand how it generated a paradigm shift in the cello repertoire from the end of the 1940s onwards. It is important to clarify that not only is in the cello where these facts are applied; it is a concern of all the acoustic instruments that have been involved in the process of mixed media. This text consists of three parts. The first part is an introduction that gives a historical perspective of the first establishments of timbre as a striking feature in composing and playing, combined with the upcoming of musique concrète and the impact of sound machines. The second part analyses the first pieces for cello and electronic media composed after 1950s, as well as an evolution in the use of this media later in the 1970s and onwards. It also refers to important cello performers interested in working with new sounds and new media. The third part revels an unknown territory within academic musicians: The cello as a main character in experimental music, visual and performing arts. This part also analyses crucial pieces for cello and mixed media that somehow fostered a big change in the mentality of the new performer and contributed to the first steps of what is called sound art. ... leer/read

Lusque-Fusque: composición y performance entre canción y música experimental
Por/By: Luciano de Souza Zanatta, Isabel Porto Nogueira y João Carlos Machado
En este texto presentamos conceptos que han guiado la creación de Lusque-Fusque, proyecto de investigación artística (López Cano y San Cristóbal, 2014) desarrollado por el Grupo de Investigación en Creación Sonora de la UFRGS. Por medio del concepto de sound art (Licht, 2007) y escucha pos-colonial (Gonzales, 2013), el trabajo se inscribe en una perspectiva que borra las fronteras entre compositor y performer, donde los creadores interpretan las obras. Estéticamente, entendemos el trabajo como música exploratoria, en el sentido de explorar las fronteras de las delimitaciones de las categorías entre géneros y formas musicales. Explora el cruce mediático, integrando sonidos grabados, procesados y tocados en vivo, vídeos, textos y ruidos, silencio y espacio, voz expandida, variaciones de afinación, procesamiento digital, tensiones temporales con desplazamientos métricos y ambigüedades rítmicas. El proceso de creación de las canciones ha sido configurado a partir de materiales previamente compuestos, secuencias programadas (beats, loops, líneas de bajo, fragmentos de melodías y textos) o bien patches modulares virtuales (generadores aleatorios, secuenciadores, sintetizadores, etc.). En este sentido, dialoga con las categorías de estudio de la canción presentadas por Oliveira (2015), por incluir la totalidad de los arreglos y de las construcciones sonoras como elemento estructural definidor del texto-sentido de la producción de música cantada. ... leer/read