• apomixis

    Apomixis es un conjunto de piezas para gran órgano, compuestas para ser interpretadas de forma automática a través de un sistema MIDI generativo en el órgano Klais de 4 manuales, instalado en la Sala Sinfónica del Centro Cultural Kirchner.
  • kokon

    kokon is the second piece for harp I made studying differents growth phases as performing states. The harp’s resonance is like water, a fluid medium that propagates ad infinitum. Each state of the piece works as an incremental modulator of this resonance in a system where sound can be re-absorbed and feedback on its activators. It was done in close collaboration with Simon Foersters.    
  • bulle

    I dreamed the other day that my memory was a perfect sphere. In a place where the time curve the space drawing floating colors that cannot be touch. The tragedy of form is that language curve meanings morphing memory into gesture. Like my lips which while they want to say color, just can whisper shadows. J'ai rêvé l'autre jour que ma mémoire était une sphère parfaite. Un endroit où le temps courbe l'espace en dessinant des couleurs vaporeuses qui ne peuvent être touchées.
  • mycelium

    Micelio (2016-2017) El micelio es una fase vegetativa del crecimiento de algunos hongos. Los micelios no tienen flores ni semillas, sino que está compuesto de hebras auto-replicantes. Con estas metáforas organicé un sistema de crecimiento gestual en los ejes vertical y horizontal, que va tomando diferentes regiones del arpa replicando y proliferando diferentes accidentes sonoros. Fue escrita en principio para el taller de Gunnhildur Einarsdóttir, y luego trabajada en una cercana colaboración con Gabriela.
  • El universo en un hilo

    Chamber Opera comissioned by TACEC with texts of  Marina De Caro Karina Peisajovich, light Marina Giancaspro, choreography Jazmín Calcarami, make-up Juan Pablo Galimberti, director assistant Laura Renzullo, customes assistant Ivan Rosler, stage design assitant Cast Liza Casullo, singer Natalia Di Cienzo, actress Esteban Bone Gapari, tenor Victoria Inés Barquiza, flute Gabriela Czerednikow, harp Alejandro Becerra, cello Roberto Maqueda Domínguez, percussion Víctor Lincoln Barceló-Suárez, percussion Adrián Llano, Répétiteur and musical conductor Carolina Di Paola, score assistant Agustín Salzano, sound engineer
  • jacquard

    Descripción

    Escrita para Esteban Manzano. Encargada por el TACEC, Teatro Argentino de La Plata. Texto de Marina De Caro

    Audio

  • espinor

    Program Note

    The pieces works as a complex plot of three modes of imbricated rotation: sonorous, gestural and temporal modes. By recording of immediate actions and their contrapuntal execution it generates palindromes and scalar constructions in a very precise time scale. The organizational unit is not the 'note concept' but a sond-gestural complex based on the domain of sound expanded into a documental registry. Handling of numerical memories working as a notation parameter equates the its own condition to the same level of the live event, except that they appear mirrored symmetrically, such as the spinorial model, a vector model of elementary particle rotation. The guitar is not only a sound generator but also a geographival and spatial, quasi scenographic, where the guitarist appears inside it at the same time as outside.

    Versions

    Details

    Duration : 8'
  • Collision

    Collision is a distributed and spatializated ensemble piece comissioned by GSU [Game Research Unit] Philadelphia. It was premiered on 13th June, 2019 at House Gallery. Made by kimi, the proto-system for dynamic music scores I developed in 2009, it was designed to be projected on top of the concert place stablishing a 4x3 grid where each square belongs to each performer. The piece deals with non-lineal representation logic both in the temporal domain, interwined by the different speed of layered boid particles , and timbre-domain, moduled . by common note-head coding (square equals noisy actions and circle equals total pitched actions) and color. The conductor has some control of the piece on the fact that unlike other projects, the macroform is not resolved but defined on real time.
  • la zairja

    ¿Que pasaría si la música fuera el lenguaje?,¿O si nos comunicáramos no solo con sonidos sino en un emtramado de acciones, movimientos y gestos colectivos? ¿Que función corporal sería para la vista lo que la voz humana es para el oido? ¿Podríamos pronunciar colores o formas en el espacio? La zairja es, historicamente, la primer máquina de contar, un ordenador mandálico de decisiones. En este juego, paradójicamente, un sistema permite a los músicos interactuar en un ritmo no medido que hace infinitos los puntos de tiempo. El juego se desprende de una obra anterior llamada Acelerador de Realidad para músicos distribuidos en el espacio. Establece repertorio de acciones conjuntamente con condiciones de conexión entre los intérpretes generando texturas emergentes y complejas. En este caso, el parámetro espacial del juego se ha adaptado especialmente para la instalación de Sebastián Roque en Movil.cheLA El ensamble está conformado por estudiantes de la Licenciatura en Música de la UNTREF y músicos invitados: Con la Participación de : Emanuel Juliá Luciana Lutteral Francisco Mastucci Diego Terra Mario del Risco| Vera Blaustein Alejandro Vinué Juan Manuel Miguez Fabrizio Rampulla iago Edelstein Sebastián Navarro Lucía Drocchi Guido Saá Nicolas Galvan Gilberto Ramírez Connie Arévalo Fausto Rivadulla Duración aproximada: 40 minutos.
  • Reality Dispersor Accelerator

    acelerador dispersor de realidad [Wirklichkeit beschleuniger dispergierers] for n musicians, performers and public in an augmented space luciano azzigotti [2012] instructions ADR is an action musical score defining a space. Its proposes different actions and interactions between agents modulated by surrounding, found objets, and constructed memories. ! The score is made of colored lines and zones. When an agent is intersected by a line or trapped inside a zone, the action must be triggered. ! Each color represent a unique kind of action: walk following the line direction or walk randomly inside the zone. link walk in the line until find a mate lists pronounce the already constructed memories previous the performance. LISTS: colors | moral values | sensation | dispersor | names of agents | counting-singing | biodramma hug & hum play an object the space is filled of sound and estrange objects
  • epinikia & agonistics

    instructions The Epinikia are the odes to the athletes, songs that poets like Pindar composed generally by comission in order to praise the memory of the winner's biographies. Moreover, in the lyric, to all situation that generates a struggle between two characters thus establishing the basis for action. Agonistics refers in one hand, to the sportive quality of competition in pursuit of a goal (agon), or to the driving force of creation and self-improvement. In this game, the poet and athlete are the same person, so agonistics and epinikia requires of a versatile player fed by fatigue and poetry. Se genera un sistema cerrado en donde los atleta-poetas turnan sus roles en pos de un objetivo común, el encuentro de la sincronía y la resonancia de un único objeto musical. Information premiered on December 17th 2011 by Nonsense Ensamble Vocal de Solistas, at conDiT.cheLA 2011 3
  • iedro

    Program Note

    Iedro locates the pianist in a performance position between standing and sitting. Its title is polyhedron's apheresis (from greek poly/many and edros/faces or bases) that reflects the piece's multifaceted structure.

    Each timbral face comes together to form a lyric continuum. This continuum is  located also in a interstitial space between the extent of sound without a teleological feature set and intersection points  where it can be settled expressive arches forever changing, depending on the specific resonance of each instrument and player's body position. It was composed in late 2009 in Buenos Aires.

    Versions

    Versiones

    Score

    Iedro

    [/column]

    Nota de programa

    Iedro sitúa al pianista en una posición de ejecución entre el estar parado y sentado. Su título es la aféresis de la palabra poliédro (de poli muchas y edro caras o bases) . Estas "caras"  tímbricas conforman un continuo lírico común. Ellos se ubican también en un espacio intersticial entre la extensión propia de cada timbre sin un rasgo teleológico definido, y puntos de intersección, donde pueden establecerse arcos  expresivos siempre cambiantes dependiendo de la resonancia particular de cada instrumento y la posición del cuerpo del pianista. Fué compuesta a fines de 2009 en Buenos Aires.

    Versiones

     

    Detalles

    Duración  4' 10''

    Partitura

    Iedro

    Program note

    Iedro locates the pianist in a performance position between standing and sitting. Its title is polyhedron's apheresis (from greek poly/many and edros/faces or bases) that reflects the piece's multifaceted structure.

    Each timbral face comes together to form a lyric continuum. This continuum is  located also in a interstitial space between the extent of sound without a teleological feature set and intersection points  where it can be settled expressive arches forever changing, depending on the specific resonance of each instrument and player's body position. It was composed in late 2009 in Buenos Aires.

    Versions

    Details

    Duration 4' 10''

    Score

    Iedro

    [/column]

  • spam

    From a call for scores of thingNY ensemble in 2009, I designed a protocode that transforms the email spam box into a logarithmic distribution of music information. It was the first musical game made with kimi.