Drift (structured improvisation) is an exploration of sounds using random processes that are andreshaped live.

A computer program is used to produce musical algorithms that triggers cowbell and acoustic piano and place them  in space and time. They are sounds determined by the composer prior live performance and presented as textures.

In live performance the improviser (in this case the composer) has further  control of the generative  sounds material  with the intension to intervene by adding and subtracting sounds reshaping the aleatory outcome to a more predictable outcome.

DRIFT(2020) Part 1 (Passage)

AbstractThinking Impro

Intermittent 2023

Bienal

FATE (part-1) 2017

BECOMING is an exploration of sounds using chaotic and random processes shaped live through various external control devices. For sound production, I use several sound synthesis techniques: FM, additive, subtractive and aggregate on a Kyma computer system.
 Like a painter chooses and mixes color on a palette to create an image, in performance, I choose my sounds freely from multiple layers of algorithms within a strict timeline. BECOMING was inspired by the vibrate colors, motion and uncertainty in German artist Daniel Richter’s dynamic painting.

BECOMING (Live Improvisation)

IDLE TALK - 2018 (live improvisation)

I have an admiration for the works of Alban Berg. For that reason, I wanted to do a remix in his memory. Listening to Berg focuses on the duality of the two different worlds - the past and the present, and combines them into a piece focusing on listening to Berg's music at distance - just like an old and familiar memory that often comes back to you. Berg's modulating musical passages with pitch variations and delicate phrases against a harsh wall of electronic sounds.

Listening to Berg

This is a collaboration piece by Silvia Matheus and Oğuz Büyükberbe
The acoustic sounds are derived by Oğuz Büyükberbe performance on the clarinet with additional processing and arrangement accompanied by electronics  by Silvia Matheus. 

This piece has many different versions.


Breath (clarinet and electronics 2011)

The material used for this piece Is words from Carla Scaletti and Kurt Hebel part of the Kyma environment. The text is accessed randomly in order to create unarticulated rhythmic phrases. I used kyma programming environment for live performance of Phoneme.

*phonem

Rhythmic Voice

Live processing of clarinet sounds
Clarine Ouz Buyukberber

Clarinet piece-1 mp3

Silvia Matheus, a national of Brazil, is an internationally accomplished electronic music composer who has been composing with computers and electronics since the 1980.
She graduated from Mills College, Oakland, California, with a Master of Fine Arts in Electronic Music and Recording Media. She has also and attended classes and seminars in interactive music and
performance at UC Berkeley’s Center for New Music and Audio Technologies (CNMAT), under the direction of David Wessel.
Ms. Matheus’ most influential teacher was Hans Koellreutter from Germany with whom she studied for several years in São Paulo, Brazil where she received her first musical training.
In the eighties, Silvia Matheus built music scores/controllers that were made of glass etched with conductive painting. The glass scores interfaced with electronic instruments acting as a controller.
As a composer, Ms. Matheus focuses her music on fixed media and interactive live performances with computers, electronics, and instrumental ensembles. Her artistic experiments involve collaboration with visual artists and performers in acting, filming, dancing, visuals, and multi-kinetic art
sculptures.
Her compositions have been performed nationally and internationally at, among many other places, the International Computer Music Conference (ICMC) in Hong Kong, Canada, Japan, Cuba,
Denmark, and New York; at IESA in the USA; at the Brazilian Symposium for Computer Music; at KISS Symposium in the USA, Belgium, and Germany; and at C60 in Berlin, Germany She received a grant to
work at Danish Electronic Music Studios (DIEM) in the late nineties.
Her multimedia piece called "Hands" for piano (choreographed hands), video, and electronics was performed in Münster and in Cologne, Germany, New York, and in San Francisco, USA, as a part
of "Handscapes", a multimedia piano project organized by Jennifer Hymer.
For many years she has taught radio drama production and post production for youth in the Bay Area. She has also published reviews on cutting-edge aesthetics of computer music in Computer Music
Journal (MIT Press). Her other interest is documentation of art productions, theater, dance, and concerts. She is a professional video and film camera operator, producer and editor. At present, she is involved in collaboration with local theaters in the San Francisco Bay Area.

silvia A. Matheus

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