Jorge Gregorio Garcia Moncada's Picks

“Gilberto” es una obra electroacústica compuesta en memoria de la historia de Olga María, una víctima de la desaparición forzada en el marco del conflicto armado interno en Colombia. Olga María fue una niña de seis años que, lejos de su hogar y en condiciones precarias de vida, perdió a su padre en manos de los paramilitares, quien fue asesinado en Puerto Nuevo, Simacota, Santander; razón por la que el nombre de la obra lleva el nombre de su padre, Gilberto. Esta obra es un relato lineal y textural dividido en tres partes: en primer lugar, el establecimiento del hogar de Olga María y cómo llegaron “Los Masetos”1 a Barrancabermeja; continúa con el recorrido de la niña y su familia por Puerto Nuevo y cómo se despidió de su padre; por último, se vuelve a Barrancabermeja incompleta, solitaria y estancada en el recuerdo de su padre.

“Gilberto” is an electroacoustic work composed in memory of the story of Olga María, a victim of forced disappearance within the framework of the internal armed conflict in Colombia. Olga María was a six-year-old girl who, far from her home and in precarious living conditions, lost her father in the hands of the paramilitaries, who was murdered in Puerto Nuevo, Simacota, Santander; reason
which is why the name of the work is named after her father, Gilberto. This work is a linear and textural story divided into three parts: first, the establishment of Olga María's home and how “Los Masetos”1 arrived in Barrancabermeja; It continues with the journey of the girl and her family through Puerto Nuevo and how she said goodbye to her father; Finally, she returns to Barrancabermeja incomplete, lonely and stuck in the memory of her father.

Gilberto

Obra para soporte fijo de audio en estéreo de género acusmático realizada a partir de sonidos interpretados en (1) Clarinete en Si Bemol, (1) Fagot y (1) Marimba Sinfónica. La pieza abre una única pregunta relacionada a la contemplación de la vida presente, e invita a la observación atenta a nuestro mundo y a las pistas que ha dejado el tiempo en él, las cuáles muestran de manera sencilla y pacífica la verdad sobre nosotros mismos. El material sonoro es aprovechado por medio de procesos de síntesis en los que se explotan sus cualidades tímbricas y se estudian sus potenciales espectro-morfológicos.

Work for fixed audio support in stereo acousmatic genre made from sounds performed on (1) Clarinet in B Flat, (1) Bassoon and (1) Symphonic Marimba. The piece opens a single question related to the contemplation of present life, and invites attentive observation of our world and the clues that time has left in it, which show in a simple and peaceful way the truth about ourselves. The sound material is used through synthesis processes in which its timbral qualities are exploited and its spectro-morphological potentials are studied.

vida contemplativa

sueño de una noche de verano

a la kuenta de 3

This sound project consists of two parts: an electroacoustic piece and a sound installation. Both serve as a personal interpretation of the first chapter of the Genesis book in the Christian/Catholic Bible, aiming to foster active reflection on the concepts of “The Creator” and “The Creation.” The piece is structured into six short movements, each functioning as a sonic narrative-landscape representing one of the six days of creation.

On the first day, God organises the universe through His word. On the second, He divides a vast dome of dark waters—once the entirety of the universe—into the waters above (the sky) and the waters below (the ocean). On the third day, He commands the earth to emerge from the ocean. On the fourth, God creates the celestial bodies—the sun, the moon, and the stars—establishing time itself. The fifth day sees the creation of creatures of the sky and great sea monsters, which He commands to multiply and fill the earth. On the sixth day, He creates all land-dwelling creatures, including those that crawl and walk, as well as humankind, man and woman. God blesses the seventh day and rests, contemplating His creation.

Binaural version.

In the Wake of Seven Dawns

Unlocking the Keys (2021) is a fixed media Ambisonic work that explores three dimensional sonic space. The title serves as a metaphor for searching out (i.e., “unlocking”) the potential of sounds created from recorded piano sources, which start out abstract in nature and fully reveal themselves in the middle of the piece.  While the ideal listening experience for this piece is a periphonic sound system (a three dimensional configuration of speakers such as “dome” or 8-channel “cube”), the version provided here (stereo) preserves all of the musical material, mapping it down organically to a two dimensional listening space.

Unlocking the Keys (2021, Ambisonic electroacoustic)

Mikel Kuehn