Permanente e transitorio (extended version 2018)

Trabajo realizado con un cruce entre la impronta vanguardista de la musica concreta y electroacustica con tecnicas de digitalizacion de muestras analogicas y sintesis granular.
año 2022.

Suite Industrial Acusmatica

Música Angelical

" Ofrendas a nadie, voces sin sílabas, sonidos sin instrumentos, acompañamientos que incesantemente cambian....momentos sin rumbo, sin acotaciones, sin regresar, fluyentes.... música que brota " H. Michaux.

Esta pieza registra los sonidos del pueblo de Capilla del Señor, primer pueblo histórico de la provincia de Buenos Aires, y las zonas aledañas del Partido de Exaltación de la Cruz. 
Los sonidos fueron grabados entre los años 2013 y 2014 en diferentes momentos del día y la noche . 
La pieza acusmática  reúne entornos sonoros, sonidos de la naturaleza , frutos que caen de los árboles, pájaros, grillos, ranas, lluvias torrenciales , truenos, tensado de alambrados de campo, festejos del mundial de fútbol 2014, las voces de sus habitantes y una jineteada popular en el pueblo de Diego Gaynor, entre otros. Algunos de los sonidos de esta pieza fueron grabados por los vecinos del lugar. 
Los registros de audio, realizados con diferentes procedimientos en una grabadora H4 Zoom y Tascam Dr 05, fueron posteriormente  editados y procesados digitalmente, otros, son audios concretos sin ningún tipo de manipulación.
  " Intersticios del Tiempo "  abarca espacios internos y externos, voces, silencios , texturas y planos sonoros que se brindan a la Escucha cuando nos dejamos llevar por los intersticios del tiempo que fluyen, sin rumbo y entraman momentos manifestando la identidad del lugar.


Intersticios del Tiempo - Capilla del Señor

This composition is a research into soundscapes and musical patterns in order to describe the metaphysical and psychological perception of feelings. The electroacoustic representation is developed in order to translate the abstract into a perceived experience.

As humans, we look at reactions to events with an interest in their consequences; that is, things that happen. Among these consequences are the most differentiated emotional types: joy and distress, happiness and resentment, satisfaction and fear, and relief and disappointment .

The concepts that represent the different emotions from a psychological point of view are developed with sounds that are musical. These could be classified as soundscapes with different timbre, colour and pitch. To the metaphysical representation of emotions is associated the representation of the different parts of the brain that regulate them. The collection of sounds also aims to describe the various brain parts that control the emotions, such as the Limbic system (Hypothalamus, Amygdala, Hippocampus, Limbic cortex).

Synaptic Connections - (Acusmatica - Electroacoustic Composition)

La Mecánica de las Cosas (2016) 8 Canales 11'
Versión estéreo.
"No a mi, sino al logos escuchando" 
(Heráclito)
-Lo que se manifiesta al oído, es la cosa ausente.

La Mecánica de las Cosas

O zumbido que ouço: está em mim ou está fora de mim? Atento à narratividade de uma cena naturalista o ouvido a deixa porém mais tarde se funde entre duas escutas: uma 'musical' e outra 'referencial' (apenas para perguntar: qual é qual?).

Tinnitus

Parte de Três Peças de Balcão (que são quatro), compostas em 2005. Estreadas em dois canais (originalmente em quatro) no Festival MaerzMusik, no Festspiele em Berlim, em 2005.

Bioacustica

Adumbration: to suggest, disclose, or outline partially; to foreshadow vaguely; overshadow, obscure.

Adumbrations goes through a series of statements towards a sensibility of ideals and shadows, utilizing female voices reciting a series of tongue twisters that iterate sibilant, fricative, and bilabial sounds. If spoken incorrectly, the sound qualities of these tongue twisters are heard as curse words. Therefore, there needs to be consistency in the process of speaking these tongue twisters explicitly. In the English language curse words can function as multiple parts of speech, and as the saying goes, people who curse more frequently are more honest. 

This piece explores the dichotomous relationship between certain ideals and shadows, i.e. consistencies and inconsistencies, actuality and potentiality, and the explicit and the honest, as it goes through a series of musical adumbrations that “halo” the process of these tongue twisters. Through these adumbrations, the contradictory can be either one or the other of the ideals or shadows turning on itself, and at times the appearance of the clarity and the inaccuracy are in an indefinite flux through these halos.  This occurs as inconsistent phonemes are turned from inaccurate iterations of the tongue twisters into something sounding consistent.  The halos are supplementing the voice within varying simultaneous parameters that include shimmering, radiating around the iterations and vice/versa, and existing as a spatial supplement revolving in different stereo planes around and as a process, and out of the immersive comes our personal perception of the contradiction.  One can think of this adumbrated halo, in this sense, as a place where the dichotomous relationship becomes indistinguishable, and laughter for a flawed system. 

This piece is partially inspired by Ingmar Bergman’s movie Persona.

Thank you so much for the wonderful voice recordings:
Elizabeth Gartman
Caroline Mckinzie
Logan Piker

Adumbrations

A revolta dos Xapiris

A Revolta dos Xapiris

Presentamos las obras compuestas especialmente para el proyecto "Argentina Suena" de la Universidad Nacional de Tres de Febrero (UNTREF)

En esta primera etapa, los compositores o artistas sonoros participantes del proyecto, grabaron sonidos de su lugar de residencia perteneciente a distintos ambientes geográficos de la Argentina, tratando de esta manera de plasmar artísticamente una identidad sonora actual del país, creando una obra con esos sonidos. 

A su vez, esta obra tiene como eje temático alguna de las problemáticas vinculadas a la relación ser humano - sonido: estos pueden ser, a manera de sugerencia, aislamiento sonoro (proliferación de auriculares), saturación sonora (carencia de silencio) polución sonora (sonidos excesivamente fuertes), la entonación al hablar de las diferentes regiones, particularidades sonoras de alguna región, sanación sonora, etc

Más información en http://www.ceiarteuntref.edu.ar/argentina_suena

Y buena escucha!

David Quang-Minh Nguyen is an audio engineer, sound designer/re-recording mixer, and composer of concert music. His current interests lie in composing acousmatic works that explore multi-channel loudspeaker expansion, various types of sound spatialization, and immersive audio.

Recognized nationally and internationally, David has had his works presented at the June in Buffalo New Music Festival, where he received individual master classes with Harvey Sollberger, Martin Bresnick, Roger Reynolds, and Brian Ferneyhough. He was an active participant in the Festival DME under the direction of Åke Parmerud, Musique & Recherches Académie d'été de composition électroacoustique under the direction of Annette Vande Gorne and João Pedro Oliveira, and the Sounds Around Me Festival under Thomas Gorbach. He was also selected by Master Artist Robert Normandeau for a residency at the Atlantic Center for the Arts.

His works have been presented at more than fifty national and international events, and he is a laureate or finalist in numerous competitions.  He has been published on ABLAZE Records' Electronic Masters Vol. 7 and received an honorable mention at the XII° Destellos Electroacoustic Competition 2019 for his work Misprints.  He also placed 2nd in the XIII° Destellos competition for Adumbrations, was a finalist for the PRIX CIME 2019, and won 2nd place for the ASCAP/SEAMUS Award for his work Weight Stranding. In 2021, his SEAMUS-commissioned piece Whale Song Stranding was selected for presentation on the SEAMUS 31 CD and received the Ars Electronica Forum Wallis selection.  David was awarded the Prix CIME 2023 Residency Award for Whale Song Stranding.  His work Texture Arc the Points won 1st place in the ULJUS Međunarodno Pijanističko Takmičenje Smederevo Competition and 2nd place in the prestigious Concours Biennal de Composition Acousmatique Métamorphoses.

David Q. Nguyen holds a BM from Old Dominion University, where he studied with Andrey R. Kasparov and Mark Chambers.  He also graduated at the top of his class from The Omega Studios School of Applied Recording Arts & Sciences with a focus on Audio Engineering in the Music Industry and Film/Television.  He has received his Master's degree and is currently pursuing a Doctor of Musical Arts degree at the University of Illinois Urbana-Champaign, where his primary teachers are Reynold Tharp, Erik Lund, Eli Fieldsteel, Sever Tipei, and Scott A. Wyatt.

Music for adverts, soundtracks, media projects
vignerialessio@gmail.com

Gustavo Adolfo Delgado was born in Buenos Aires, Argentina in 1976. He started his career in 1995. Composer and acousmatic, mixed music and live electronics performer. Full-time professor of Electroacoustic Music Composition at the Conservatory Claudio Monteverdi of Bolzano (Italy).

His artistic production is characterized by an articulated language of polyphonic micro structured sound objects on multiple virtual spaces and focused on electroacoustic music orchestration, spectral morphing, sound synthesis, and spatialization techniques.

His compositions have been awarded or nominated finalists at 20 international contests and these have been performed at prestigious festivals and concerts in Argentina, Chile, Colombia, Costa Rica, Mexico, United States, Austria, Belgium, Spain, France, Italy, Latvia, Malaysia, Portugal, Sweden, Principality of Monaco and the Republic of Azerbaijan.

Very often his pieces are broadcasted by radio and streaming music channels "The New Edge" (USA), WMBR 88.1 FM (USA), New York Public Radio (USA), taintradio.org (USA), Undae Radio (Spain) and www.musicaelettronica.it (Italy).

His works have been published by labels "Not Art Records (New York)", 4-Tay Inc. (USA), Taukay (Italy), Sconfinarte (Italy), "Music Sas" (Italy), "Sannio Neumi" (Italy), LIM Publishing (Italy) and are on sale at Amazon, Ebay, Spotify, iTunes, emusic.com, just to mention a few of them.

AWARDS

2017	Third price. “SIME 2017” Electronic Music Week Festival/Contest (France);
2016	First price. International Composition Contest “EFME 2016” (Argentina);
2016	Finalist selected piece. International Composition Competition of “Città di Udine 2016" (Italy);
2016	Winner. International Festival/Music Contest “El laboratorio del espacio 2016” (Spain);
2016	Mention. "Exhibitronic Contest 2016” (Belgium);
2013		Selected piece. National Contest CD #6 "Listening points 2013" of CEMAT Federation. Rome. (Italy);
2012		First Prize. “Premio Giornata Mondiale della Memoria 2012” to the Nicola Sala Conservatory of Music, granted by the President of the Italian Republic Dr. Giorgio Napolitano. It was the very first time a Conservatory was awarded with this prize. The award was for the CD "The memory notes: The Broken Music of the Holocaust" produced by Conservatory of Benevento. Gustavo Delgado: Sound Engineering. (Italy);
2010	Finalist selected piece. International Composition Competition “Città di Udine 2010". (Italy);
2009	First Prize. "National Arts Award 2009" (Electronic Music and New Technologies category). (Italy);
2004	Finalist selected piece. "International Composition Competition Città di Udine 2004" (Italy);
2004	First Prize. " National Salon  Contest 2004". Buenos Aires. (Argentina);
2001		First Prize. "Composition Contest Juan Carlos Paz 2001" granted by the "National Fund of Arts Argentina": U$S 5,000; (Argentina);
2001	Third prize. "Forum- Contest of Electronic Music 2001". Goethe Institute of Córdoba (Argentina);
2000	 	Finalist selected piece. "Electroacoustic Music Contest/exchange of by Ina GRM/LIPM 2000" (Buenos Aires/Paris);
1999		Finalist selected piece. "Electronic Music Forum-Contest 1999". Goethe Institute of Córdoba (Argentina);
1998		Finalist selected piece. " Electronic Music Forum-Contest 1998". Goethe Institute of Córdoba (Argentina);
1998	First prize. “Sound object contest 1998". FARME (Argentina);
1998	Second prize. "Sound clip contest 1998". FARME (Argentina);
1997	First prize. "Sound Object contest 1997”. FARME (Argentina);
1996	First prize. "Sound Object contest 1996”. FARME (Argentina);
1992	Finalist selected piece. "13° Coca-Cola in the arts and sciences contest 1992". Category: "Modern Music"

Alex Buck (1980) is a composer, performer, and improviser from São Paulo, Brazil. His music is largely influenced by experimental trends of many distinct genres such as acousmatic music, contemporary jazz, Brazilian music,  free improvisation, and contemporary classical music. As a performer-composer, he works mainly within the constraints of acousmatic music and experimental electroacoustic jazz realms.
He received his B.Mus and MFA in electroacoustic composition from UNESP where he studied with his mentor Flo Menezes. In 2019 he received the first prize in Musica Nova international festival (Czech Republic) with his acousmatic composition named Screaming Trees. In 2018, his work Fantasia Essata was among the finalists in Metamorphoses competition (Belgium).
He has an extensive career as a drummer in Brazil, where he collaborated with some of the most relevant artists in the Brazilian-jazz scene: Arismar do Espírito Santo, Hamilton de Holanda, Mestrinho, Michael Pipoquinha, Wilson das Neves, Filó Machado, Sandro Haick, and many others. Buck is a member of acclaimed experimental Brazilian jazz trio Trio Ciclos with Bruno Migotto (bass) and edison Sant’anna (piano), and was a member of Bamboo quinteto with Bernardo Ramos (guitar), Bruno Aguilar (bass), Josué Lopez (sax), and Vitor Gonçalves (piano). 
Buck was the artistic director of  EMEXP, the Experimental Music Ensemble of EMESP (São Paulo’ State School of Music) where he also used to teach composition, écriture, contemporary improvisation, and music analysis. 
He is currently living in California where he develops his Doctoral degree in the Performer-Composer DMA program at the California Institute of the Arts (CalArts).

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