Selected Acousmatic Works by Bruno Ruviaro, composed between 1999 and 2013.

Selected Acousmatic Works by Bruno Ruviaro, 1999-2013

Pós-Tudos, a collection of 12 piano études for piano solo composed in 2015-2016 by Bruno Ruviaro. Watch with scores at https://youtube.com/playlist?list=PLbAQwZLF3xQ5OZvj2bq7bdivhAZ320RUR&si=mkSPmJv-XFBnber4

Performed by Kyle Adam Blair and recorded at Santa Clara University.

Pós-Tudos (piano solo)

Tunnel Voices at Marin Headlands

Fire Alarm at Santa Clara University - Music & Dance Facility

Fonepoemas (2003)

Electroacoustic piece, stereo, 44.1 kHz, 16 bits

PROGRAM NOTES

Fonepoemas is an electroacoustic piece composed by Bruno Ruviaro in 2003. The source material is a recording of vocal improvisations on the phonemes of the name “Tânia”. The first section is based on the /t/ and rhythms suggested by it; the second part condenses and “harmonizes” the Portuguese nasal /a/ with the consonant /n/; the last section reflects the high-frequency qualities of the /i/. The final /a/, almost not pronounced, suddenly concludes the piece.

Fonepoemas

Original piece is surround sound (8 channels), composed in 2013.

PROGRAM NOTES

When a sample that is tired of suffering meets another sample that is also tired of suffering, it’s time to consider that intermodulation may suddenly happen. When there is a sample that sorely misses another sample, and this other sample does not understand it, just let that new intermodulation happen, even if clipping becomes unavoidable. How silly I was, trying in vain to rationally understand things about sampling that no one can actually explain. Come, let us try now, only a new use can twist the old one.

https://scholarcommons.scu.edu/music/38/

This piece borrows from Caminhos Cruzados (Tom Jobim / Newton Mendonça) as sung by João Gilberto.

Mesmo Que Depois (binaural version)

No Justice, No Peace (2017)

For choir and electronics

Score: https://ccrma.stanford.edu/~ruviaro/scores/no_justice_no_peace.pdf

The protest chant No Justice, No Peace — not a lament, but a conditional statement — comes from the long history of African American struggles against racism in the United States. In the first pages of her book “From #BlackLivesMatter to Black Liberation”, Keeanga Yamahtta-Taylor describes the events that started the Black Lives Matter movement:

"Over the course of ten months, spanning from the summer and fall of 2014 into the winter and spring of 2015, the United States was rocked by mass protests, led by African Americans in response to the police murder of a young Black man, Michael Brown. In the summer of August, the people of Ferguson, Missouri, rose up and brought the world’s attention to the crisis of racist policing practices in the United States. Eight months later, some forty miles from the nation’s capital, the city of Baltimore exploded in fury at the police killing of young Freddie Gray. (…) It should go without saying that police murder and brutality are only the tip of the iceberg when it comes to the US criminal justice system. Is it any wonder that a new movement has taken ‘Black Lives Matter’ as its slogan when it is so clear that, for the police, Black lives do not matter at all?"

This piece seeks to amplify, through music, some of these voices from the streets. The electronic part is based on recordings of chants from #BLM protests. The introduction of the piece is a full minute of chaotic but rhythmic soundscapes derived from the original recordings (as Taylor wrote elsewhere, “when the Black movement goes into motion, it throws the entire mythology of the United States — freedom, democracy, and endless opportunity — into chaos.”). At the end of the introduction, the main chant finally emerges, leading the choir in sonic explorations of harmony, rhythm, and melody. The very first entrance of the choir picks up the note from the voice of a woman protester extending the word “racist” in an emotionally charged B-flat. The choir harmonizes this note into a long chord that keeps resonating along with a multitude of other street voices. The second section of the piece presents the choir in rhythmic solidarity with looping segments of the recording, in a musical call and response reminiscent of the “human microphone” technique from the times of Occupy Wall Street. Finally, in the third and last section of the piece, a soloist sings the words of the main chant in an angular, open-ended melody. The evocative character of this ending invites us all to a moment of collective reflection on the struggle for racial justice in this country.

Performed by Santa Clara University Concert Choir. Scot Hanna-Weir, conductor

https://www.youtube.com/watch?v=0haNXRv6ANA

No Justice No Peace

Music for piano solo from 2006.
Premiered by Steve Drury at Stanford University.

Score: https://scholarcommons.scu.edu/music/27/

Sete Vazios

Pós-Tudos, a collection of 12 piano études for piano solo composed in 2015-2016 by Bruno Ruviaro.

Performed by Kyle Adam Blair and recorded at Santa Clara University.

Pós-Tudo 12 (Bach)

Pós-Tudo 9 , v1 (Pixinguinha)

Pós-Tudo 7 (Seis Vícios de Garlândia)

Pós-Tudo 6

Pós-Tudo 5 (A Ostra e o Vento)

Pós-Tudo 4 (Chopin)

Pós-Tudo 3 (Construção)

Pós-Tudo 2 (Ravel)

Pós-Tudo 1 (Luiza)

Composed by Bruno Ruviaro (Brazil) and Juan-Pablo Caceres (Chile) based on live-electronic improvisation recordings realized at CCRMA (Stanford University) between June and July 2005.

Chamber Of The Late Half Hour

This piece contains hundreds of samples of existing music borrowed from other composers, including Galina Ustvolskaya and Beethoven. This work was part of my dissertation project for the doctoral degree in Music Composition, centered on the topic of sampling and musical borrowing.
All performers were using MaxMSP software with Catart by Diemo Schwarz.
Stanford Laptop Orchestra, Stanford University, 2010.

SLOrk - 2010-05-28

Intellectual Improperty 0.6 (2010)

Composed in 2008.

This concatenative synthesis study is based on tiny fragments borrowed from Japanese composers Ryoji Ikeda and Keiichiro Shibuya. Its composition was prompted by a combination of three things, present or absent: Paris’ autumn, California’s sun, and Tokyo’s fish market.

Electroacoustic sounds, 2 channels [4’00”] Premiered at the Center for Computer Research in Music and Acoustics (CCRMA), November 20, 2008.

https://scholarcommons.scu.edu/music/31/

Study on Japanese Themes

Electroacoustic piece composed in 2009, Cleaner is made out of hundreds of short, unrecognizable audio samples combined together using a technique that some people call "concatenative synthesis". The result of this potentially endless series of this microscopic detournements is a delicately noisy flow of original musical textures that may have some affinities with both the tradition of French acousmatic and Japanese noise music. More at www.brunoruviaro.com

Cleaner

Clarinet, cello, percussion. Composed by Bruno Ruviaro in 2006. Released on CD "Música Plural" with the Percorso Ensemble (http://www.percorsoensemble.com.br/), directed by Ricardo Bologna.

Score:
https://works.bepress.com/bruno-ruviaro/36/

Program Notes:
“There are six vices of composition (…): the mixing of comedy and tragedy in the same part of the work; unsuitable digressions; obscure brevity; unsuitable mixing of styles; improper mixing of subjects; and the use of endings not suitable to the type of writing.” [De Arte prosayca, metrica, et rithmica (13th century treatise), by John of Garland]

Seis Vícios de Garlândia

Brazilian musician, pianist, composer. Acoustic and electronic music. Improvisation, live coding, deep listening. Director of Santa Clara Laptop Orchestra (SCLOrk).

Bruno Tucunduva Ruviaro

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