| J. A. PARRA CANCINO | Tellura (7´51) |
| P.KOKORAS | Slide( 8´30) |
| M. DUGATKIN | Y la noche se derrumba (8´34) |
| P.KHOSRAVI | Night streams (6´22) |
| E. GUZMAN ARREDONDO | Prometeo & Epimeto ( pour flute et bande, 7´54)) |
| M.MARINI | Etude aux cuics et aux couacs (5´15) |
Music Studies 1998-2000 Student of Composition in the Catholic University of
Chili 2000-2004 Student of Sonology at the Royal Conservatory of the Hagoe Projects
&Activities 1998-2003 Member of diverse improvisation & music ensembles as a
guitarist and/or Live electronics performer including: Buenos Aires guitar Ensemble
(Argentine) Berlin guitar Ensemble (Germany) League of Crafty guitar (World)
Improviser's Ensemble (Netherlands) 2003 Founder and Member of 'The Electronic
Hammer percussion computer music trio Prizes, commission: 2003 Honorific mention
at Bourges for " Serenata a Buros "
Juan Arturo PARRA CANCINO: Tellura Tellura is the result of an exploration
in natural disasters that could be associated to the disturbance of electromagnetic
fields. For the Structure and Distribution of the material, seismograms of different
cities of North and South America were used.
As primary sound Material I used recordings of sonor stations in the Pacific
Ocean, where important telluric activity was detected.
Further transformations of these recordings were made in the Max/Msp and Sound
environments. Using several implementations of Granular Synthesis, Phase vocoding
and spectral manipulation.
(Greece, 1974) he has studied composition and classical guitar in Athens, Greece.
In 1999 he moved to England, for postgraduate studies where he has completed
his MA and PhD in composition at the University of York with funds from Arts
and Humanities Research Board (AHRB) and Al. Trianti Music Scholarships (Society
Friends of Music).
His works have been commissioned by institutes and festivals such as IRCAM,
MATA and York University, and they regularly performed and broadcast in Europe,
Asia and America. His compositions have been received 17 distinctions and prizes
in international competitions among others International Gaudeamus Music Week
2004 and 2003 - The Netherlands, JTTP 2003 - Canada/ UK, Insulae Electronicae
2003 - Italy, International Jurgenson Competition for composers 2003 - Russia,
Seoul international competition for composers 2003 - Korea, Toru Takemitsu Composition
Award 2002 - Japan, Noroit Prize 2002 - France, Musica Viva 2002 - Posrugal,
CIMESP 2002 - Brazil, Musica Nova 2001 - Check Republic, Métamorphoses 2000
- Brussels.
Composing on what he calls Holophonic texture; he has developed a sophisticated
control of abstract sound structures, which focuses specifically on the morphopoiesis
of sound and its chronotopological precision. He is concerned to see how he,
the listener, maps the acoustic signal into a structural representation on a
psychoacoustic basis of the perception of music. His compositions include significant
influences of the electroacoustic studio upon acoustic instrumental compositions
and vice versa. Panayiotis Kokoras' creative output ranges from acoustic works
to mixed media and tape one.
He is founding member of the Hellenic Electroacoustic Music Composers Association
(HELMCA) where he currently serves from the position of the general secretary.
He is currently teaching at the Technological and Educational Institute of Crete
- Department of Music Technology and Acoustics. His music is published by NOR,
Miso Musica, SAN / CEC and distributed in limited editions by Host Artists Group,
Musica Viva and others.
Panayiotis KOKORAS : Slide "Colours (Sounds) are not used because they
are true to nature but because they are necessary to the particular picture
(composition)" - Kandinsky, W.
Having this statement in my mind, slightly transformed into a musical context
by my adjustments in the brackets, I started to work on Slide during the winter
of 2002. Slide is a piece for classical guitar and electronics in which all
the sound material comes from the classical guitar.
I explored in depth the unusual characteristics of the guitar's sound idiom.
I played the instrument by scratching on the strings, knocking on the back of
its body, hammering and sweeping, and even breaking, the strings themselves.
I coupled the guitar with the use of 'unconventional' objects treated as extensions
of the guitar, like brass or glass slides, metal sticks or brushes, in order
to obtain a better control, development and transformation of the sound. Thus,
with the help of digital tools, I tried to reveal moments that the ear would
hardly hear normally. I tried to isolate fragments, which are rarely perceived
by the listener - or even the performer - in the course of a performance. I
then tried to take the sound further from its true nature and make it suitable
for the particular composition.
Every second in the work is very detailed and carefully elaborated. Each acquires
its own importance; however, the dramatic succession of that particular 'moments'
assumes an essential role within the piece. Every gesture justifies both the
next and the preceding one, and all joins together to create phrases, then sections,
and finally the composition itself.
Born in 1978 in Buenos Aires, Argentina. He studies composition with Manolo
Juarez and Gabriel Senanes, and piano with Violeta de Gainza and Susana Agrest.
He is currently working toward the Composition Degree at IUNA (National University
Art Institute), and since 200 he is studying electroacoustic composition with
Alejandro Iglesias Rossi.
In 2000 he was awarded the National Composer's Tribune Prize. In 2003 he received
the National Electroacoustic Music Rostrum Prize, organized by the Argentinean
Music Council and Unesco.
Mario DUGATKIN : Y la noche se derrumba A powerful Shofar*sounds, but only a soft whisper is heard. Angels in Heaven, seized with fear and trembling as they declare: "The day of judgement is here!"
For the Jewish mystic tradition,
On judgement day, the heavenly
Hosts and all humankind are
Called before the presence of God,
Who reviews human beings,
Scrutinising their actions, setting a
Limit to their lives on earth and
Sealing their fates. He calls upon
Man to be present in his task of
Following Divine Creation through.
Saint Paul in the Epistle of the
Romans (VIII-22) Synthesises it:
"For we know that the whole creation groaneth and travaileth in pain together
until now."
He refers precisely to how human
beings have been dragging nature
With them in their fall from Eden,
Because, since they are endowed
With instincts that will either
Demean or elevate them spiritually,
They will have to exercise their
Commitment to Cosmos and it will
Be up to them whether darkness
Covers everything with its cloak or
Whether light comes shining
Through.
Education: Attended: Music High School, Teheran Iran, 1994-1998 Attended: Holland Park School, London UK, 1998-2001 Gained Music a Level Studies: Ensemble/Orchestral playing, music awareness, and composition at junior guildhall school of music and drama, 1998-2002 Study of violin for 12 years. Currently studding violin under Detlef Hahn and electroacoustic composition under Ian Stewart. Currently reading music at city university, London (undergraduate, 2nd year).
Edgar Guzman Arredondo was born in Queretaro Oro Mexico, in 15th july 1981.
In 1999 he started his musical studies in the Fine Art School of The Universidad
Autonoma De Queretaro. In 2000 he started his composition studies with Ignacio
Baca Lobera. Since then he has participated in several composition and new technique's
courses with Carlos Sandoval (may 2001), Herbert Vazquez (La Vanguardia de los
50, august 2001), Viktor Rasgado (Técnica Donatoni, july 2002), Vincete Barrientos
(composicion y analisis, sep 2002), Rogelio Sosa (musica electroacustica, nov
2002), German Romero (marca 2003) and Alejandro Castanos (composition y analisis,
feb 2004). He has participated too in instrumental technique's workshop with
tambuco ensemble, Ivan Manzanilla, Wilfrido Terrazas, Fernando Dominguez, Gonzalo
Salazar, Icarus ensemble, Anumadutchi ensemble y Joan La Barbara.
On june 2002 he is awarded the Jovenes Creadores grant of the council of arts
of Queretaro. He has participated in the Foro Internacional de Musica Nueva
in Mexico City. He was selected to participate in the 21st Century Young Composers
Project in Chicago il organized by the international contemporary ensemble;
he was commissioned with an orchestral piece by the Sistema National de Fomento
musical (Mexico), and he received a mention at the V CIMESP in Sao Paulo, Brazil.
Edgar GUZMAN ARREDONDO: Prometro & Epimeteo The tape of this piece was
made entirely with sampled flute sounds, and this sounds are Basically the same
that form the gflute part.
All the structural work was made primarly in the tape that was composed before
the flute, so the flute part could be treated more like an improvisation with
a tape timbre relation.
Né en 1961. Débute la musique en 1979. Etudie la batterie et le solfège de
1983 à 1988 au Centre Musical Créatif de Nancy (CMCN). Diplômé de l'école Dante
Agostini de Paris. Batteur dans différentes formations de musiques actuelles.
Pratique également les percussions, le chant et la manipulation d'objets hétéroclites.
Anime des ateliers de percussions et dispense des cours de batterie de 1985
à 1998. Depuis 1995, musicien comédien au sein de la Compagnie Materia Prima
(Nancy), collectif regroupant des artistes comédiens, musiciens, plasticiens,
danseurs, circassiens. Compose la musique des spectacles de la compagnie et
réalise des installations sonores. Nombreuses tournées à l'étranger (Pologne,
Russie, Lituanie, Suède, Allemagne, Belgique, Suisse)
Parallèlement à son activité musicale, s'intéresse à la prise de son depuis
1991. Nombreuses expériences en studio. Dispose actuellement d'un studio avec
plate-forme Mac G5, Protools et Roland direct to disc. S'investit dans la production
artistique, le mixage et la production discographique en créant le label Bouliki
en 1996 à la lecture de " A la recherche de la musique concrète " de Pierre
Schaeffer. Cette découverte sera le début d'un intérêt croissant pour la musique
électroacoustique, qui de lectures (TOM, M Chion, F Bayle…) et d'écoutes du
répertoire discographie, l'amènera à s'inscrire au stage GRM-ADAC en octobre
2003 où il étudie depuis avec Régis Renouard-Larivière et Christian Eloy.
Marc MARINI : Etude aux cuics et aux couacs C'est une miniature. Les
cuics et les couacs in sont les objets principaux. Apparentées à des phonèmes,
leurs caractéristiques typologiques et morphologiques sont définies dans leur
phonétique. Ils peuvent représenter deux tribus, tout comme deux aspects distincts
d'un seul individu. Appelés en introduction de la pièce à se confronter dans
un dialogue effréné, ils se livrent à un rituel sonore en trois mouvements.
1. Mise en résonance corporelle-Mise en mouvement des forces créatrices. Rencontre
des personnages son. Danse très rythmée de sons pointus et itératifs. Violente
confrontation des matières. Les pauses et points d'orgue ont la valeur rythmique
de relancer la danse. Le silence de fin tient le fil de la tension.
2. Accession/Acquisition. État extatique lié à la métamorphose. La morphologie
nouvelle est un continuum sonore lent et épais contenant des résonances à hauteur
variable. Les personnages, figés dans cet espace, accèdent à la "voix", dont
la sonorité est signifiée par un appeau de mouette. Longs cris réverbérés ressemblant
à des pleurs de bébé. Transition aiguë.
3. Confirmation/Appropriation de l'élément "voix" acquis. Le 3ème mouvement
est semblable au 1er. Les sons étirés réverbérés du 2ème se métamorphosent en
cuics et couacs. Le dialogue, qui s'étend enrichir de l'élément vocal, reprend
précisément là où il fut interrompu. Il se termine sur un unisson en forme d'accord
qui ponctue avec accent la fin du rituel.
Le propos de cette pièce est le voyage initiatique. Une miniature des états
de tension, violence, extase, des notions de travail et spontanéité à la démarche
de recherche et de création.