Atemporánea Festival 2020 Buenos Aires. Electroacoustic music for fixed media alone in stereo or quadraphony / Selected applications.
1/ Dreams in the Desert by Elainie Lillios. (USA). 0:10:47.
Dreams in the Desert calls to mind reveries of a person on a desert caravan. Scenes play through the dreamer’s mind; perhaps they are memories past or maybe longings for another time and place. Dreams in the Desert was composed in the electroacoustic studios at Bowling Green State University and in the composer’s home studio. It appears on the Society for ElectroAcoustic Music in the United States (SEAMUS) Compact Disc Series, Volume 13, and on her solo CD Entre Espaces, produced by Empreintes DIGITALes.
Biography Elainie Lillios:
Acclaimed as one of the “contemporary masters of the medium” by MIT Press’s Computer Music Journal, Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion, and anecdote. Her compositions include stereo, multi-channel, and Ambisonic fixed media works, instrument(s) with live electronics, collaborative experimental audio/visual animations, and installations. Elainie’s work has been recognized through awards, grants, and commissions, including a 2018 Fromm Foundation Commission, 2016 Barlow Endowment Commission, and 2013 Fulbright Scholar Award. She won First Prize in the Concours Internationale de Bourges, Areon Flutes International Composition Competition, Electroacoustic Piano International Competition, and Medea Electronique “Saxotronics” Competition. She has also received awards from the Destellos International Electroacoustic Competition, Concurso Internacional de Música Electroacústica de São Paulo, Concorso Internazionale Russolo, Pierre Schaeffer Competition, and others. Reviews of Elainie’s compact disc Entre Espaces (Empreintes DIGITALes) praise her work for being “… elegantly assembled, and immersive enough to stand the test of deep listening” and as “…a journey not to be missed.” Other works are published by Centaur, Innova, MSR Classics, Ravello, StudioPANaroma, La Muse en Circuit, New Adventures in Sound Art, SEAMUS, Irritable Hedgehog and Leonardo Music Journal. Elainie serves Director of Composition Activities for SPLICE and as Professor of Creative Arts Excellence at Bowling Green State University in Ohio. http://elillios.com/
2/ Spiral Voice by Gustavo David Chab. (Argentina/Spain). 0:09:24.
A voice from the past come to the present as a Spiral in my mind. This voice is a brief chant in Ladino of my grandfather that emerge like a Spiral in the composition. This excerpt of audio was taken from a video of my family. This work tries to combine sounds that are related with “the voice of Sefarad” (past) and sounds of the present that sometimes come to my mind and appear in form of repetition with punctual sounds.
Mixing sounds that appear in different manners trying to go in form of evolution like a Spiral.
The sounds “of the present” mainly are made and created with Modular Synthesis, different kind of systems like Buchla 200e in my residency at EMS Elektronmusikstudion 2018 (the centre for Swedish electroacoustic music and sound-art), and others machines. Exploring the possibilities of this Instruments trying to make flexible as a poetic expression and mixing then inside the atmosphere of the piece.
Biography Gustavo David Chab:
Composer of mostly electroacoustic works that have been performed in the
Americas and Europe.
He composed his first electroacoustic piece in 1993, specializing in composition
techniques in electroacoustic music.
He composes works for instrumental, electronic music, and live performances.
Gustavo frequently explores the spacialization of sound in composition,
mixing fixed media acousmatic and sound generation in real time.
His compositions have been performed at numerous festivals and has received- among many awards – Prize Exhibitronic 2018/International Festival of Sound Arts (Strasbourg-France); First Prize of the FNA /Juan Carlos Paz (Buenos Aires, Argentina); a special Mention of the Municipality of Buenos Aires and a honourable Prize-Residence of the International Competition of Electroacoustic Music GMEB (Bourges-France, 1993) /Artist in Residence CCMIX, Center for the Composition of Music Iannis Xenakis (France). https://gustavochab.blogspot.com/
3/ The Pier by Andrew Simon Miller. (Australia). 0:09:00.
The Pier started after a visit to the German lakeside town of Waren. The Pier didn’t begin with a pre-determined idea, but rather with a sound – the sound of water lapping up against the shore of the Müritz Lake. The piece developed itself from this sound and finished as a simple poem of sorts – a metaphor for a possible reality. The process of composing was seen a way to deal with the place – of understanding it.
Biography Andrew Simon Miller:
Andrew Simon Miller is a composer of electro-acoustic music and researcher originally hailing from Sydney, Australia. He currently resides in Berlin where he has recently completed a Master’s degree in ‘Sound Studies’ at the University of Arts. His works often explore the relationship between abstract and the abstracted, and ask us to question the role of listening and hearing in the emergence of sound as meaningful phenomena.
4/ Tempus fugit by Paolo Pastorino. (Italy). 0:07:06.
Sed fugit interea, fugit irreparabile tempus, with this phrase Virgilio describes the temporal condition to which the man is subjected. It is a phrase that comes from a context of life very different from that of modern man but still calls a very delicate question as interesting and current, life as a function of time.
“Tempus fugit” comes from a series of personal reflections on the perception of time. A time that escapes and devours all the things it has created. A time as a state of consciousness and perception that expands and contracts itself. A time observed on the faces of others, on my city, on my nearests and dearests. That time which influences us in our choices and which constantly fills our present in imagining the future and remembering the past.
Biography Paolo Pastorino:
Paolo Pastorino (Sassari – Italy – 1983) is an acousmatic composer and music technologies professor in high school.
He graduated in electronic music and sound technologies at the Conservatory of Sassari and he is specialized in the same course at the Conservatory of Cagliari, both cum laude.
He has participated in several master classes held by artists such as Jean Claude Risset, Curtis Road, Bernard Fort, John Chowning, Yann Robin, Eckart Altenmüller, Michelangelo Lupone and Tolga Tüzün. He also attended an artistic training internship at the Rome Music Research Center under the guidance of Michelangelo Lupone.
His compositions have been presented in several contemporary and electroacoustic music festivals in different countries of the world.
Currently His field of musical and expressive research regards in particular concrete music and sound art, he also deals with programming for the creation of executive environments for live electronics. He currently collaborates with the “Minim Ensamble”, a group of musicians and composers who deals with investigating some aspects of musical minimalism.
5/ Quatre machines pour sauver le monde by Léa Boudreau. (Canada). 0:12:19.
In January 2019, young students from Jean-Baptiste-Meilleur elementary school in Montréal took part in a little brainstorm : to imagine fantastic machines under the theme « Quatre machines pour sauver le monde » (Four machines to save the world). No limit, no other instruction, all ideas were welcomed. Based on their suggestions, I composed this piece, expressing with sound and music the devices thought out by the youngsters but also their surrounding environment. The work is divided into four parts which respect the original titles given by the schoolchildren :
1- Une machine volante qui fonctionne à la pollution et qui la transforme en air pur (A flying machine that functions with pollution and turns it into fresh air)
2- Une machine-robot en forme d’animal pour sauver les animaux qui n’ont pas de maison et qui sont dans la rue (An animal-shaped robot-machine to save homeless animals that live on the street)
3- Une machine pour envoyer toute la neige qui tombe ici au pôle Nord pour ne plus que ça fonde (A machine to send all the snow falling here to the North Pole so it doesn’t melt anymore)
4- Une machine-bateau-sous-marin pour nettoyer les océans (A machine-boat-submarine to clean the oceans)
In collaboration with 1st year elementary school students from Jean-Baptiste-Meilleur and their substitute teacher Samuel Cadieux.
Biography Léa Boudreau:
Léa Boudreau is a composer and musician based in Montréal. She has nourished a passionate relationship with sound since her teenage years, a time when she would spend days on end as a hermit, listening and creating… oh, how little things have changed! Nowadays, she continues to create in the realms of performance and composition, driven by a desire to explore the infinite sonic possibilities of everyday objects and to express the multitude of musical ideas keeping her awake at night.
She has received several awards in recent years: the 3rd prize in JTTP 2019 from the Canadian Electroacoustic Community (CEC), the 3rd place in SIME competition (Lille University), the Marcelle Prize (Faculté de Musique de l’Université de Montréal) in 2019 and the 3rd Hugh Le Caine Prize (SOCAN Foundation Awards for Young Composers) in 2017. Her works have been performed in concert in Birmingham, Brooklyn (NY), Buenos Aires, Denton (TX), Lille, Londres, Marseille, Montréal, San Francisco (CA) and Urbana-Champaign (IL). https://leaboudreau.com/
6/ Qualia by Panayiotis Kokoras. (USA/Greece). 0:09:40.
Qualia has been composed at the CEMI studios – Center for Experimental Music and Intermedia at the University of North Texas in 2017. The composition explores the experience of music from perception to sensation the physical process during which our sensory organs – those involved with sound tactility and vision in particular – respond to musically organized sound stimuli. Through this deep connection sound space and audience are all engaged in a multidimensional experience. The motion and the meaning inherited in the sounds are not disconnected from the sounds and are not the reason of the sounds but are in fact the sound altogether. Energy movement and timbre become one sound source identification cause guessing sound energies gesture decoding and extra-musical connotations are not independent of the sound but vital internal components of it. Qualia are claimed to be individual instances of subjective conscious experience. The way it feels to have mental states such as hearing frequencies at the lower threshold of human hearing or a piercing sound hearing an Bb note from a ship horn as well as the granularity of a recorded sound. In Qualia I do not experience musical memory as a sequence of instances but as a sensory block that last the entire duration of the piece. The experience of sound itself is not sequential it bypasses past or future time becomes a present constant wholeness a single unity. In this state of consciousness time dissolves. The vibrating air molecules from the speakers the reflections in the physical space and the audience are the sound.
Biography Panayiotis Kokoras:
Kokoras is an internationally award-winning composer and computer music innovator and currently an Associate Professor of composition and CEMI director (Center for Experimental Music and Intermedia) at the University of North Texas. Born in Greece he studied classical guitar and composition in Athens Greece and York England he taught for many years at Aristotle University in Thessaloniki. Kokoras’s sound compositions use sound as the only structural unit. His concept of “holophonic musical texture” describes his goal that each independent sound (phonos) contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing his music calls upon a “virtuosity of sound,” a hyper-idiomatic writing which emphasizes on the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece. His compositional output is also informed by musical research in Music Information Retrieval compositional strategies Extended techniques Tactile sound Hyperidiomaticity Robotics Sound and Consciousness. More information at http://www.panayiotiskokoras.com
Organization of the program:
Artistic Director: Sandra Elizabeth González.
PH: Andrea Zafaroni.
General Director of Artistic Education: Alejandro Casavalle.
Director of the Superior Conservatory of Music of Buenos Aires City “Astor Piazzolla”: Alicia de Couve.
Deputy Director of the the Superior Conservatory of Music of Buenos Aires City “Astor Piazzolla”: Marina Calzado Linage.
Technical Director: Lucas Nicolás Mechehem.
Cultural Extension: Constanza Legname.
Graphic Design: Verónica González.
Communication: Federico Iguera.
Staff : Maximiliano Correau and Timoteo Dratler. https://sites.google.com/view/atemporanea-festival