CCRMA

LIPM Concert

LIPM Computer Music

Concert of new works by LIPM composers (Laboratorio de Investigacion y Produccion Musical, Buenos Aires, Argentina)

Free admission

Program

Interval


Mestizaje

"Mestizaje" was realized at LIPM and was the result of several years of study of the ritual songs of the Guichi indians who live in parts of Northeast Argentina. The piece tries not to be just the combination of modern technologies with the indian songs. I have tried to find a contact point between the conceptions of "circular" form in the "primitive" cultures and the linear form conception of the European cultures.

Gonzalo Bifarella studied Music in the Cordoba National University (Argentina) were he finished his Music Composition Studies. He has represented Argentina in the International Congress "Jeneusses Musicales" in Canada '85, Poland '86 and Argentina '87. He is the Coordinator for the International Electroacoustic Music Forum that takes place every year in Cordoba. During the last 6 years he has specialized in the production of multimedia events in which he combines Music, Dance, Video and Theater.


Los Viajes de Gulliver (Gulliver's Travels)

I composed my work "Los Viajes de Gulliver" (Gulliver's Travels) thinking about somebody who travels through different places, situations and landscapes but doesn't know how, where and why he is doing it. He is thus compelled to always go on regardless of his intentions.

Javier Leichman received his Music Degree from the National Conservatory Juan Carlos Lopez Buchardo in Buenos Aires. He was a Visiting Composer at CRCA last year as part of the Rockefeller Exchange Program.


Apocalypse was postponed due to lack of interest

"Apocalypse was postponed due to lack of interest" is my first computer music work created using Bill Schottstaedt's CLM (Common Lisp Music), a synthesis and sound processing language developed at CCRMA. Most of the sounds are synthetic, coming from hybrid synthesis algorithms, but others use processed natural sources such as radio voices and female speech (a polish literature text). I wrote some algorithms in LISP to generate different textures, rhythm fluctuations and density control. The idea of "impact", is used in different ways in the composition, which is mostly a work with memory that tries to create electronic sounds with strong perceptual characteristics, producing some kind of "physical" sensation (rugosity, fragility, etc.). The title, coming from an Internet news group, matches with the idea I have about art today. The piece won 1st Prize in the 1995 Bourges Competition (Residences Category)

Juan Carlos Pampin, born in Buenos Aires, Argentina in 1967, is finishing a master in composition at the Conservatoire National Superieur de Lyon, France. During last year he was Visiting Composer at CCRMA starting his work "Apocalypse..." that he finished in a second visit last summer. He has explored different fields in contemporary music, from instrumental to computer music works, including mixed media and improvisation. He is currently working on a piece for two percussion players and live electronics.


Paradiddles (for percussion and tape)

The electronic sounds in this piece were created and controlled with a Synclavier II at LIPM, Buenos Aires. The piece is based in the interaction that is created between the rhythmic patterns of the live percussion player and those of the tape part. It is a constant dialog between pattern synchronization and contrast. The percussion part in this taped version of the piece was played by Tristan Taboada.

David Horta received his Music Degree from the Juan Jose Castro Conservatory at Buenos Aires, Argentina. He latter studied composition with Julio Viera and Musical Analysis with Francisco Krðpfl. He is currently Visiting Composer at CRCA as part of the Rockefeller Exchange Program.


El Libro de Los Seres Imaginarios (The Book of Imaginary Beings)

These are seven electroacoustic pieces based on the book of Jorge Luis Borges "El Libro de los Seres Imaginarios" (The Book of Imaginary Beings) and were composed during '92 and '93 at the "Studio de Composition et Recherche", Montreal University, Faculty of Music. In each one of the pieces I have tried to explore different musical spaces and describe musically the qualities that most impacted me while reading the book.

Jorge Sad received his Music Composition Degree from the Faculty of Musical Arts and Sciences of the Argentine Catholic University. He made postgraduate studies of Electroacoustic Music and Musical Semiotics at the Montreal University under the guidance of Marcelle Deschenes and Jean Jacques Nattiez. He is currently Visiting Composer at CCRMA under the Rockefeller Exchange Program.