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


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.


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flute, muta  picc. and bass fl.;


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






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