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Obra: NAIX (Sistema Poliedro) Duración: 5': 45" Compositores: José Miguel Candela (Chile), Ricardo de Armas, Eduardo Kacheli, Raul Minsburg y Fabian Esteban Luna (de Argentina respectivamente). |
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| Notas de programa NAIX compuesta por José Miguel Candela (Chile), y Ricardo de Armas, Eduardo Kacheli, Fabian Esteban Luna y Raul Minsburg (de Argentina respectivamente). Adoptamos tambien el Sistema Poliedro (www.sistemapoliedro.blogspot.com) para organizar el trabajo. Esta pieza fue la segunda composición colectiva realizada con el grupo.
La composicion partió de un fragmento de una obra que Iannis Xenakis compuso en 1965 para cello solo, bajo el nombre de <span style="font-weight:bold;">Nomos Alpha</span> como un encargo de la Radio Bremen. El nombre de N.A.I.X responde a las iniciales de Nomos Alpha Iannis Xenakis. |
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Recursos técnicos Transformaciones sobre diferentes muestras de audio mediante procesamientos diversos, además de diversas sintesis de sonido fueron aplicadas a lo largo de la obra. Un fragmento de la obra de Iannis Xenakis fue utilizada y transformada por los integrantes del grupo. |
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Obra: TRAFUL (Sistema Poliedro) Duración: 5': 15" Compositores: José Miguel Candela (Chile), Ricardo de Armas, Eduardo Kacheli, Raul Minsburg y Fabian Esteban Luna (de Argentina respectivamente). |
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| Notas de programa Traful- fue compuesta en por José Miguel Candela (Chile), y Ricardo de Armas, Eduardo Kacheli, Fabian Esteban Luna y Raul Minsburg (de Argentina respectivamente). Traful, nombre que proviene de la lengua originaria de la cultura Mapuche significa confluencia. Adoptamos el Sistema Poliedro (www.sistemapoliedro.blogspot.com) para organizar el trabajo, siendo esta la primera composición colectiva de carácter electroacústico realizada con el sistema nombrado. Las pautas que se acordaron fueron: -Recurrir a fuentes sonoras de igual origen. En esta ocasión de origen “telúrico”. -Disponer de turnos sorteados al azar para componer fragmentos sonoros, y cada vez que culmine una rotación volver a sortear su orden. -Cada compositor agregará su parte al final de la serie de fragmentos compuestos por los restantes compositores (con excepción del 1er compositor). -Acordar el lapso de un mes para componer cada motivo. -Libertad para transformar & editar los archivos de audio. -Común acuerdo para modificar el inicio y fin de toda la pieza. -La duración de la totalidad de la obra se acordó sobre el desarrollo del proceso de acuerdo a la cantidad de rotaciones que se requirieron de común acuerdo entre los compositores. |
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Recursos técnicos Transformaciones sobre diferentes muestras de audio mediante procesamientos diversos, además de diversas sintesis de sonido fueron aplicadas a lo largo de la obra. Una grabacion de campo realizada por Jose Miguel Candela de una instrumentista de la cultura Mapuche fue utilizada y transformada por los integrantes del grupo. |
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Work: AVATAR (acousmatic) Duration: 08': 05'' Date: 2007 |
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Program notes Avatar is a word of hinduism. An Avatar is a deity coming to the earth in the form of an animal, a human being or in any other form. In the work this Avatar is an impressionistic sonic version. An evocation of celestial and crazy deity. An evolution from slow to fast, calm to agitate, piano to forte, static to mobile, order to chaos, simple to complex and viceversa. |
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Technical means The work is basicaly created by sampling sources and diverse synthesis. The software SoundHack, Csound, AudioSculp, SoundHack and Soundtrack Pro were used. The work was carried out a MacBook. Monitor Yamaha NS 10 and Mackie MS1402-VLZ. |
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Work: NACAR (flute and DSP processing in real
time) Duration: 9': 0'' Date: 2004 Performer: Saul Martin (flute C) |
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| Program notes The austere sound of the flute is submitted to real time processed that emphasise aspects of the timbre and spatial distribution. This allows the work to be placed whithin the area of extended instruments or metha instruments. Different conditions for interaction or dialog between the performer and the transformed sound are proposed during the performance of the piece a feedback that continuosly influence the performers interpretation. The score for the flute is bases on the pitch cass set system, gestalt theory and phicoacoustic principies. |
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Technical means The worh was programmed (for real time DSP pocessing) through the software Super Collider. The work was carried out a Macintosh G4, interfase Firewire 410, Yamaha NS10 and mixer Mackie MS1402-VLZ |
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Work: ACCESSUS (acousmatic) |
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| Program notes
The statement of this work can be described as an incursion in search of a space (or condition) where equilibrium rules. This search implies being exposed to innumerable vicissitudes while we advance in our approach. The metaphor of the sea is implicit during the work. It acts as a symbol referring to the searched equilibrium. |
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Technical means
The work is basicaly created by sampling sources and diverse synthesis. The software Csound, SoundHack, GRMTools and Pro-Tools were used. The work was carried out a Macintosh G3. Monitor Yamaha NS 10 and Mackie MS1402-VLZ. |
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Work: DINAMICAS EXPANSIVAS (acousmatic) Duration: 6': 0'' Date: 2000 |
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| Progam notes
The work contains two very different sound materials. The first one comes from the register of a series of objets falling stridently on a hard ground. These sounds dictate a series of guidelines for development that are respected and emulated by the second sound material, which has its origin in a acoustic-instrumental area. |
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Work: EMULACIONES (acousmatic) Duration: 8': 15'' Date: 1998 |
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| Program notes
Emulaciones are created based on the manipulation of several musical parameters under two concepts: predictable behaviour and unpredictable behaviour. |
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Technical means
Emulaciones are created entirely by Csound software by means diverse synthesis: FM, additive, FOF, Granular and Karlplus-Strong. And was carried out on a PC 486. |
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Work: TRES CASCADAS EN TRANSICION (computer live music)) Duration: 6': 30'' Date: 1994 |
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| Program notes
The piece was created in order to be played in real time, where the performer follows a score which modifies instructions controlling; diverse MIDI parameters, random boundaries, Markov chains, and synthesis modifications through sysex. In certain circumstances of the piece the performer have a total control over the action to be player, for example: stop o play all activities in MIDI channel N#, or to give a specified delay value of N# between a loop of notes; and to other hand only the performed assigned random boundaries for velocity, pan, etc. All parameters and probabilities are independent of each and more related parameters (scaled, transpositions, clocks for internal automatic action) can be also controlled interactively in real time. |
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