live recorded track for the 3-way split with Feliz FM and Nome Morto "A juventude do Rio de Janeiro respira por Aparelhos ruidosos"
https://seminalrecords.bandcamp.com/album/a-juventude-do-rio-de-janeiro-respira-por-aparelhos-ruidosos




Esta máquina é borracha e metal ela se ajusta ao seu corpo e você morre lentamente

track 10 from the Breviário record https://estranhasocupacoes.bandcamp.com/album/brevi-rio

Extrapolação (Breviário - 10)

Noise piece composed for the Social Discipline podcast, which was dedicated to the activity of the CSII (Circle of Studies of Idea and Ideology).
https://soundcloud.com/socialdiscipline/sd31-w-gabriel-tupinamba-and-jp-caron-it-takes-some-structure-to-make-negativity-productive

The proposal was to use materials from the recorded meetings of the collective. In this piece I am using, alongside a few recordings, a reading of Gabriel Tupinambá's text "Freeing thought from thinkers", which in its final section presents the rules of functioning for the Circle. 
https://ir.canterbury.ac.nz/bitstream/handle/10092/12087/Tupinamba_Issue1.pdf?sequence=1

Mastering was made by Sanannda Acácia. 
https://soundcloud.com/operatorcrusty

Many thanks for the Social Discipline folks, Mattin and Miguel Prado.
To Gabriel and to the CSII!

Up For Grabs (CSII)

Fist part of an audio essay I did for Patricia Reed's Value and Noise: Inhabitation at High Dimensions, CCC Master Symposium
on March 30th 2022.
Full recording of the event is available here: https://www.youtube.com/watch?v=CobTgRY1w3Y

In both this and part II I use soundclips from the following sources:

On Part I
J.-P. Caron and Gustavo Torres: 
~Ø (não-vazio) música para sons de suportes tecnológicos não gravados e/ou gravados com o próprio processo de gravação 
Full album: https://seminalrecords.bandcamp.com/album/no-vazio-mpsstnggcoppg

On Part II

J.-P. Caron: Breviário 
Full album https://estranhasoccucoes.bandcamp.com/album/brevi-rio

Aka Mortuário: C32
Full album https://seminalrecords.bandcamp.com/album/c32

Dehors: Dehors
Full album https://seminalrecords.bandcamp.com/album/dehors

Dehors (live)
https://www.youtube.com/watch?v=TWVoXeoJ4so
Full album of the tour : https://archive.org/details/dehors_minitour2016/

Exemplifying Anonimity part I

Second part of an audio essay I did for Patricia Reed's Value and Noise: Inhabitation at High Dimensions, CCC Master Symposium
on March 30th 2022.
Full recording of the event is available here: www.youtube.com/watch?v=CobTgRY1w3Y

In both this and part II I use soundclips from the following sources:

On Part I
J.-P. Caron and Gustavo Torres:
~Ø (não-vazio) música para sons de suportes tecnológicos não gravados e/ou gravados com o próprio processo de gravação
Full album: seminalrecords.bandcamp.com/album/no-va…sstnggcoppg

On Part II

J.-P. Caron: Breviário
Full album estranhasoccucoes.bandcamp.com/album/brevi-rio

Aka Mortuário: C32
Full album seminalrecords.bandcamp.com/album/c32

Dehors: Dehors
Full album seminalrecords.bandcamp.com/album/dehors

Dehors (live)
www.youtube.com/watch?v=TWVoXeoJ4so
Full album of the tour : archive.org/details/dehors_minitour2016/

Exemplifying Anonymity part 2

Compilation from the first years of the Seminal Records label.

00:00 Alexandre Fenerich- A morte do compositor de terno https://seminalrecords.bandcamp.com/album/m-sica-eletroac-stica-10-anos

06:56 DFA- No canto dos olhos 
https://seminalrecords.bandcamp.com/album/os-que-falam-quando-sozinhos

13:04 Henrique Iwao- centered 
https://seminalrecords.bandcamp.com/album/naoaaacm-redux

15:21 Isabel Nogueira- Dreams 
https://seminalrecords.bandcamp.com/album/voicing

16:49 aka Mortuário- a3 Vanya 
https://seminalrecords.bandcamp.com/album/c32

18:50 Nome Morto- Ilha de Paquetá https://seminalrecords.bandcamp.com/album/expurgo

22:46 Abneg- laoev 
https://seminalrecords.bandcamp.com/album/abjeto

28:30 bella/rohrer- n 
https://seminalrecords.bandcamp.com/album/in-on

35:52 J.-P. Caron/Marcos Campello- sem título https://seminalrecords.bandcamp.com/album/oco-2

45:24 Victim!- Cortina 
https://seminalrecords.bandcamp.com/album/pupila

51:12 Marco Scarassatti- Rios Enclausurados 1 (edit) https://seminalrecords.bandcamp.com/album/rios-enclausurados

54:32 Renata Roman- Linea Y Galo 
https://seminalrecords.bandcamp.com/album/oye

57:32 Hugo Medeiros, Henrique Vaz, Marcelo Campello e Albertu Silva- Σκιάποδες 
https://seminalrecords.bandcamp.com/album/bestiarum

61:01 Paulo Dantas- AkihabaraKodenmacho https://seminalrecords.bandcamp.com/album/cidade-arquip-lago

64:24 Quasicrystal- Transformative 
https://seminalrecords.bandcamp.com/album/q-c

67:58 Vulgar Débil- I  
https://seminalrecords.bandcamp.com/album/a-flauta-de-p

70:10 Stefan Prins, Peter Jacquemyn, Matthias Koole- 07:30 https://seminalrecords.bandcamp.com/album/m-rmore-e-murta

77:18 Thiago Miazzo- A-01 
https://seminalrecords.bandcamp.com/album/volume-1

80:27 Yersiniose- Degredo  
https://seminalrecords.bandcamp.com/album/1911

86:28 Verjault- Epilogue 
https://seminalrecords.bandcamp.com/album/brainflesh

Mixtape Seminal

choices from the back catalog of the Seminal Records label.

Tracklist

00:00 – Aquiles Guimarães: Variationen über fünf Themen - Papagei Vokalquartett Wien
https://seminalrecords.bandcamp.com/album/a-vida-dos-nossos-animais 

06:09- Epilepsia : Ovo Negro
https://seminalrecords.bandcamp.com/album/death-raving 

12:52- Alvenaria: Aproxima a objetiva como capturar a vida de quem vai logo
https://seminalrecords.bandcamp.com/album/verrina 

19:36- Em extinção : Passagem
https://seminalrecords.bandcamp.com/album/nereide

23:12- naøs  : ØIRRTNAMSXEA (compacto)
https://seminalrecords.bandcamp.com/album/extrus-o 

25:52- Quasicrystal: There’s no such animal
https://seminalrecords.bandcamp.com/album/theres-no-such-animal 

30:08- ruínas : descarte
https://seminalrecords.bandcamp.com/album/rf-os 

33:01- Verjault : Killerself/Vomit your hate/000013ULTRA
https://seminalrecords.bandcamp.com/album/killerself-ao-vivo 

37:55- Túlio Falcão : Elara
https://seminalrecords.bandcamp.com/album/15-comunica-es-lunares-jupiterianas 

40:38- Henrique Iwao : Baby
https://seminalrecords.bandcamp.com/album/cole-es-digitais 

47:12- J.-P. Caron & Bruno Trchmnn : TOSCO
https://seminalrecords.bandcamp.com/album/gato-tosco 

52:00 – b-Alúria : caos com nome
https://seminalrecords.bandcamp.com/album/caos-com-nome 

54:16 – Yersiniose : Francis Bacon's Sphynx
https://seminalrecords.bandcamp.com/album/tra-os-e-nervos 

61:06- Thomas Olbrechts :  s t a c k m e m o r y.. II -centrifugal
https://seminalrecords.bandcamp.com/album/inertia-3 

64:07- Raquel Stolf : dia curto ou comprido - monólogo - as coisas podem ser compridas ou curtas.
https://seminalrecords.bandcamp.com/album/fora-do-ar 

67:25- Cadós Sanchez & Inés Terra : II.
https://seminalrecords.bandcamp.com/album/ferrugem 

73:19- Vulgar Débil : II. Magia negra
https://seminalrecords.bandcamp.com/album/natura-nihil-facit-supervacaneum-et-nihil-largitur 

76:13- Matthias Koole : 05:00
https://seminalrecords.bandcamp.com/album/34-46 

80:56- Matador de Senador : 1.
https://seminalrecords.bandcamp.com/album/matador-de-senador-2 

87:03- Marina Cyrino : transmogrificação#5
https://seminalrecords.bandcamp.com/album/of-ciorif-cio 

92:49- Bronte : II (antes)
https://seminalrecords.bandcamp.com/album/bronte 

96:50- Thomas Bey William Bailey :  The Experiment Requires That You Continue
https://seminalrecords.bandcamp.com/album/a-desperate-expediency 


103:07- A-tros : Sabotagem
https://seminalrecords.bandcamp.com/album/arcabou-o 

104:48- Lucas : heunggong
From: Panasonic (SR#043)
https://seminalrecords.bandcamp.com/album/panasonic

Seminal Mixtape II

Domestic recording of piano piece with the composer playing. Mixed by Rafael Sarpa
score: https://www.dropbox.com/s/8fh9e03pdxfttgp/curtos%20circuitos%20I.pdf?dl=0

Curtos Circuitos I (2001) for solo piano

Simultaneous performance of both noisecompositions I and II.  with J.-P. Caron, Paulo Dantas and Leo Sousa, live cymbals.

noisecomposition II was released on the cd NME Chá # 2, and can be listened to here: https://soundcloud.com/j-p-caron/matcha-noisecomposition-ii

noisecomposition I + II

Poema de J.-P. Caron utilizado por Aquiles Guimarães aqui: https://soundcloud.com/aquilesguimaraes/anfibio-v-2-0

Subterrâneos é um termo recorrente nestas notas. Ele se refere não somente ao que está debaixo (da terra ou o que quer que seja), aos trilhos do metrô, às minas de onde se retiram riquezas, às cidades onde vivem os ratos que evitam a luz do dia, às divindades ctônicas, movimentos tectônicos criadores de grandes catástrofes ou leves tremores, ao centro de tudo onde há nada, aos maiores picos do mundo sob os oceanos, à continuidade de uma vida sem ninguém, à magnitude de um labirinto em dois ou mais níveis, iluminado e em perpétuo movimento, à solidão profunda de quem vive vinte e quatro horas por dia em meio aos outros animais, ao conforto de saber que as lojas estão abertas lá embaixo, à vontade oculta pelas representações, aos mortos que ameaçam voltar à vida, à vida que escolhe por-se como morta, ao sentido apreendido pelas múltiplas visadas, ao objeto que se esconde por trás de todos os seus sinônimos, ao mundo enterrado debaixo de todas as suas descrições possíveis, ao que não sei sabendo que há alguma coisa lá, sei o que há sempre soube que se insinua e ainda não aconteceu, e continua a se insinuar, acontecerá?, a uma promessa, termo malogrado, uma promessa de uma falta que é um excesso de vida que se converte em falta, febres noturnas em meio a festas e moças e álcool e uma mão fria amada na testa, uma vontade real que não se deixa dizer de pular fora, e de dançar no fogo, em cacos de vidro, e sei que isso já foi dito muitas e muitas vezes e continuo a dizer sem talento especial nem nada mais a acrescentar sob o sol, por isso sob o solo permaneço, subterrâneo, sob o manto do céu escuro, sob o manto da morte de uma avó querida, em uma masmorra bem amada, pés molhados no jardim, ruídos da avenida lá fora, isto não é um compromisso com a morte, isso é uma negociata, peço um adiamento, que o mundo ainda não nos alcance e que possamos ainda, de pés molhados de chuva habitar o underground não da terra, da cidade, entre pedintes e gatos de rua na precariedade que nos faz virar as costas sempre, com um gesto de mão, na intimidade de um cigarro compartilhado e uma vontade não assumida (continua!), são fantasmas, promessas de fodas, eu a senti do outro lado da mesa, eu me lembro de quando terminei aquela música, música reptiliana, diziam, retornando do pântano ao sol para esquentar o sangue frio, naquela semana minha rã morreu, e continuo a dever o réquiem, não reptiliano- anfíbio!, com o título devido, com o movimento de peles trocadas, os corpos sinuosos e uma barca no meio da tempestade.

Anfibio

Recording from 2009

Marcos Campello- guitar
Claudia Castelo Branco- prepared piano

Bienal 2009

Poslúdio

http://sinewave.com.br/2014/05/j-p-caron-st-2014/

https://jpcaron.bandcamp.com/album/st

Momentum I (para Giacinto Scelsi II)

Recording from 2012

Pedro Bittencourt- saxophone
Katia Balloussier- piano

Curtos Circuitos II

Realisation of the score:

Stones II (noisecomposition III)

Make sounds with stones, draw sounds out of stones, using a number of sizes and kinds (and colours); for the most part noisily, with occasional pauses. For the most part striking stones with stones, but also stones on other surfaces (inside the open head of a drum, for instance) or other than struck (bowed, for instance, or amplified).
 
Try to break every stone or object you use.
 
 
 
 
J.-P. Caron, 2013

Stones II (noisecomposition III)

Longest track on the release by Sinewave Label, ST.

http://sinewave.com.br/2014/05/j-p-caron-st-2014/

It's a time-stretched version of a recorded performance of the score "8' for Giacinto Scelsi".
Score for 8' for Giacinto Scelsi: https://www.dropbox.com/s/vjgpfzce5gj86th/8%27%20for%20Giacinto%20Scelsi.pdf?dl=0 

Philosophical essay about time-stretching: https://www.dropbox.com/s/l4wytrny6xvgydv/On%20the%20Transcendental%20Aesthetics%20of%20Time-Stretching%20Caron.pdf?dl=0

Piece composed for, and recorded in, Mario del Nunzio´s cd "Vertebra". 
Score: https://www.dropbox.com/s/9y29ps6oxm6vxnf/V%C3%A9rtebra.pdf?dl=0 

“... ele dizia, tocar na flauta da própria vértebra e falava também em coração e em ícones nele guardados guardo no meu coração este ícone que não sei do que é e esta vértebra que sustenta esse tempo esses momentos e esses sons que aqui se enunciam como este texto no qual não percebo o que está sendo dito...”

Vertebra is composed for one musician playing two guitars, amplifiers (two or multiples of two), two e-bows, mp3 players (or any other portable playback equipment), effects and volume pedals.
	Almost every sound in the piece is controlled by the guitarist, without any kind of automation or pre-recorded sources. The only exceptions are the use of long moments of feedback created by the amplifiers correlated with the guitars, and the use of the recorded voice on the mp3 players.
	Amongst the conscious musical references are Earth, -notyesus>, Stockhausen, Alvin Lucier, and at least two other works by the composer: Poslúdio (“Postlude”), for prepared piano and electric guitar; and Moldura (“Frame”) for four electric guitars. The relationship between these references is structural, but also affective. Vertebra is an assemblage of affects presented as memory.

The musical devices that are exhibited in Vertebra compose, thus, with the player herself, a total musical body.

	THIS PIECE SHOULD BE PLAYED LOUD.

Vértebra, for electric guitars (one performer) (2011)

Cassette tapes for performance containing personal recordings from the Breviário album and the forthcoming Moldura (Breviário vol 2).

Mixtape 1:  Descent

Cassette tapes for performance containing personal recordings from the Breviário album, the ST album, the forthcoming Moldura (Breviário vol 2) and Rasura (Breviário vol 3) albums.

Mixtape 2:  Ascent

Icon over icon is the superimposition of different recorded versions of the script "Icon" one over the others. Live musicians treat the resulting texture as an instance of "Icon", by following the rules of the script.

Recorded live in MIS- Campinas
with
J.-P. Caron- viola and voice
Igor Souza- violin and voice
Daniel Brita- trombone
Paulo Dantas- guitar
Aquiles Guimarães- flute
Sergio Abdalla- guitar
Magno Caliman- guitar
live band

over recorded versions of Icon from 2012 and 2015.

2015:
Julia Teles: theremin
J.-P. Caron: viola and voice
Magno Caliman: guitar
Claudio Cabral: bass guitar
Rafael Sarpa: voice
Paulo Dantas: saxophone
Sergio Abdalla: guitar
Daniel Brita: trombone
Igor Souza: violin and voice

2012:
Claudio Cabral- guitar
Magno Caliman- guitar
Marcos Campello- guitar
J.-P. Caron- amplified viola and voice
Paulo Dantas- tenor saxophone
Rafael Fortes- tenor saxophone
Henrique Iwao- electronics
Rafael Sarpa- voice
Carlos Eduardo Soares- guitar
Felipe Pacheco Ventura- amplified violin
Felipe Zenicola- bass guitar

Mastered by Tiago de Mello for the 13th Encun- Campinas.

Icone Sobre Icone (Icon over Icon)

Icon, for orchestra 



score:

- Saturate a given sound space.


comments to the score

1. We understand by sound space any interval delimited by a frequency x and another frequency higher or lower than x. 

The sound space in question must first be selected taking into consideration the extensions of the instruments that comprise the orchestra.

2. The order "saturate" should be understood as an attempt to occupy all frequencies closed between preset limits (high and low).

To facilitate the implementation of this order, the instruments used in the orchestra should be able to play microtones.

2.1. The musicians should listen to the texture that is sounding, seeking to fill empty spaces, that is, spaces which are not already occupied by a sound.

The frequencies proposed by the instruments must be sustained for longer or shorter periods of time, after which one can exchange one’s sound, always obeying the logic stated above.

3. The order proposed in the score is impossible.

The musical space comprised within a frequential interval can always be further divided, resulting in the existence of new empty spaces:
The space cannot be saturated.

From the point of view of the performing musician, the work must be an experience of this impossibility. From the point of view of the listener, it is a long cluster with internal timbral exchanges.


The work should last long enough.


J.-P. Caron
2006/2009


.........................................

2012 version:
Claudio Cabral- guitar
Magno Caliman- guitar
Marcos Campello- guitar
J.-P. Caron- amplified viola and voice
Paulo Dantas- tenor saxofone
Rafael Fortes- tenor saxofone
Henrique Iwao- electronics
Rafael Sarpa- voice
Carlos Eduardo Soares- guitar
Felipe Pacheco Ventura- amplified violin
Felipe Zenicola- bass guitar


Mixed by Felipe Zenicola and J.-P. Caron

Ícone (2012 version)

J.-P. Caron

https://www.youtube.com/watch?v=bBtnBYARkcE



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