• 2110

    2110 predicción de segunda estructura para dos músicos-jugadores y entorno inmersivo. Valentín Garvié, trompeta Bruno Lo Bianco, percusión Diego Alberti - Luciano Azzigotti, composición de interacción 2110 fué el año en el que se prohibió la mercadotecnia. Camuflados dentro del arte y los papeles científicos los publicistas slashdoteaban y streisaneaban mensajes ilusorios hasta volver la comunicación inaccesible. Ante el peligro de la extinción del lenguaje , un tipo de cazadores de contaminación informativa diseñó un test de atención capaz de preveer grupos semánticos inestables: el predictor de segunda estructura. Esta es su historia y su diccionario.

  • aquenios

    for saxophone quartet
    Seeds dispersion depends on fruit structure. In Aquenios [Achenium] - that empty fruit where seed shortly flows - , the quartet takes differents strategies of sound generation from physical parametrical instructions. The reed's own materialy is in the same hierarchy of actions of air column and fingering. From a chaotic emergence, as a result of multiple gestural and chambered interactions no too accurate, it lets sprout a subtle web but dense at the same time, as a floating moss. Where listening has to be sink but not exhausted. As when we look at the achenes flying transported by dandelions. Or hiding in the folded microtextures of strawberries.

    Versions

    Details

    Duration 6' 47''

    Score

    Interactive
    Static

  • vilanos

    [ph by Alejandro Held] When a flower dies, and it’s petals wither, a perfect sphere formes inside. Like the subway , the veins , the umbrellas, like the earthworm’s path... arboreal systems grow regardless of the materials that comprise them , displaying the same geometry . They really come to fill the grooves that already exist in the space. The flute sound is transformed into a swirling turbulence, air that is fragmented and divided into a spiral. Hence the re- feeding of a listening technique transforms holes into resonators, the duo as symmetrical exchange point.

    Instrumentation

    amplified soprano flute duet.

    Details

    Vilanos, 2014, 11'. Premiere: Escrituras Argentinas @conDiT 2014 9, Duo MEI, Música para flautas. Patricia García y Juliana Moreno. [ph by Alejandro Held]

  • microbeatlogic

    In the micro percussive scale, information is processed as a magnetic field, the chirp in a tone burst and the decision of every attack as an accident occurring inside  the rattle.

    Description

    MBL works on the same principle of operation of iterated resonant percussion instruments such as rattlers, maracas, bells, but on an enlarged scale. The materials emerge from the dialectic between human action and its unintended consequences ruled by physical properties of the objects inside containers as inertia, micro-resonance,  attractive  and repulsive magnetic forces.

    Instrumentation

    Bearing Balls conical springs magnetos 2 amplified semihespheric containers

    Details

    MBL 1 31/08/2013  Duration  7' 22'' Premiere  31 de agosto de 2013, reConvert Project, Victor Barceló & Roberto Maqueda conDiT.cheLA , Buenos Aires Argentina. 3th september  2013 / reConvert Project @Centro Cultural de España Santiago de Chile. 8th september  2013 / reConvert Project @Centro Cultural de España Córdoba, Experimentalia Fest.

    Score

    Videos

  • retorno

    h4>Program Note Echo is like the memory of space. I imagined anything that can sounds remains perpetually negligible even in even values of energy, preserving a remnant of identity. It is a music that moves on the remains of this memory by saturation and discharge processes. If anything will return it should be the possibility of a reflection, a scale, and of Other which reconstruct the initial action listening.

    Instruments

    basson french horn trombon percussion (crotales) bandoneón piano violoncello

    Details

    Duration 4' 49' Premier 29 th october 2011,ensamble 34 conducted by Annunziata Tomaro, conDiT , Buenos Aires Argentina.

  • qualia

    Qualia fué realizada en el marco de la beca Melos Gandini junto al compositor Gerardo Gandini. Fué estrenada en los conciertos de la beca en la Biblioteca Nacional el 16 de diciembre de 2010.

    Nota de programa

    Aplicados a la música, los qualia refieren a operaciones subjetivas y cualitativas que median entre los patrones existentes en la partitura y aquellos construidos en la conciencia durante la experiencia musical.

    Lejos de intentar modelar dicha experiencia, presente de alguna manera en el afecto barroco, en la representación de la emoción romántica o en el nominalismo cuantitativo de algunas partituras del siglo XX, aquí sirven como un pretexto metafórico de construcción formal.

    Imaginamos que cuanto mas jerarquizada e interrelacional es la acumulación de estratos de organización (que en su interacción simple generan un estado complejo),  mas imprevisible y enactiva será la emergencia de qualia.

    Los movimientos corresponden a tres diferentes configuraciones de los  estratos . Están dominados por los conceptos de espacio de fase (de los estratos gesto y  registro) ,bifurcación (de estilo y planos lineales)  y caos (densidad cronométrica) respectivamente.

    Cada uno de ellos es delimitado por el instante en el cual  alguno de los estratos alcanza su nivel de saturación. Cuando esto ocurre el sistema se compensa a través de dos operaciones, corte abrupto desintegrativo o transición integrativa. La transición funciona como método de intercambio entre el tiempo retentivo de construcción de qualia y el protentivo o anticipatorio que rige la distribución de los eventos. La desintegración, como un gesto cadencial cuya potencia mayor ocurre en el tercer número. Este es el momento en que se liberan las restricciones aplicadas anteriormente.

    Instrumentación

    flauta, muta a picc. y fl. baja;

    clarinete

    percusión (vib, tt, bd, 2trg, 2tblocks)

    piano

    violin

    contrabajo

    Detalles

    Duración 8' 20''

    Estreno 16 de diciembre de 2010, compañia oblicua dir. Marcelo Delgado, Biblioteca Nacional, Buenos Aires Argentina.

    Publicación

    Qualia, Melos Ediciones Musicales, Buenos Aires, diciembre 2010

    Qualia was composed during  Melos Gandini's grant with composer Gerardo Gandini.

    Description

    Applied to music, qualia relate to subjective and qualitative operations mediating between musical score patterns and those constructed in listener's consciousness during musical experience.

    Far beyond of trying to shape this experience, like in barroque affect theory, romantic emotion representation or quantitative nominalism from some twentieth century scores, here this concepts serves as a metaphorical pretext to formal construction.

    We imagine the more hierarchical and interrelated accumulation of organization layers is (which generates a complex state by simple interaction) the more unpredictable and enactive  qualia's emergence will be.

    Movements correspond to three different configurations of strata. They are dominated by the concepts of phase space (of gesture and register layers), bifurcation (of music style and lineal planes) and chaos (of texture and chronometric  density) respectively.

    Each of them is delimited by the instant at which one of the layers reaches its saturation level. When this happens system is offset bv two operations, abrupt disintegrative cut or integrative transition. Transition works as a method of exchange between retentive time of qualia construction and protentive time governing distribution of events. Disintegration, however, as a cadential gesture whose major potency occurs in third movement. This is the moment when earlier restrictions are released.

    Instrumentation

    flute, muta  picc. and bass fl.;

    clarinet

    percussion (vib, tt, bd, 2trg, 2tblocks)

    bandoneón

    piano

    violin

    doublebass

    Details

    Duration 8' 20''

    First performance december 16th 2010, compañia oblicua dir. Marcelo Delgado, Biblioteca Nacional, Buenos Aires Argentina.

    Qualia, Melos Ediciones Musicales, Buenos Aires, diciembre 2010