Today we are scattered in a thousand ways that point to different sides, or perhaps to make the same point. These different ways have made the music has become something that in a way satisfying the masses, something that now causes a rejection of the ear, not having in their characteristics as "tonal" (and we consider the tonal 1 of the thousands of branches landing to our needs as a listener).
For this work we focused our studies on what is Latin America and what it has meant the expansion of roads, a few composers who are worldwide and that perhaps if they were developing romantic music would be about the crowd.
Development.
1 .- General.
Latin America is a part of the world that its history always get a couple of years later avant-garde events in the world and makes us a small step back for cultural events / art.
The processes by which music is transformed are consequences of socio-cultural factors and the changes they experience the music in Europe.
In different fields of music found in our century and part of Latin America, there are ways that are much more developed than others, for example the music that has electronic intervention (or right is purely electronic) is rooted in the neo-learned musical culture, or perhaps more than other styles.
The reason for this has been a party to the factor "youth" of composers. This generation has grown up around us with the influences of music which has an almost absolute control of what is running, or rather, what you hear. We say "almost absolute" because of the improvisation factor each work has in itself, and that in some way is linked to experimentation and mental fluency is achieved in the composition of works. Music search change of form and function to the phonemic, that is, moves from the abstract to the concrete. This phenomenon (which is the basis of contemporary music) causes the center of gravity as "own" the sound and not the key, as was done long ago. It is almost a philosophical explanation: "the sound is enough to define itself and depends on other to give account of himself."
In Venezuela, the Bolivarian University, one of the fabric of discussion and that makes this country an advantaged on the subject of learned contemporary music education is hearing the music front. "You should listen unconsciously, without past or future, fully living each experience no more time than the present. The musical experience of the listener requires a permanent state of purity. " It follows a host of concepts that help students of music in the thin sound appreciation of the result. These concepts suggest that contemporary music is (in a certain way) and meaningless for the listener to give it.
For this Caribbean country in 1975, was created SVMC (Venezuelan Society of Contemporary Music) by a group of Venezuelan composers who wanted to establish a representation of your business in the country and a global connection through the International Society for Contemporary Music (ISCM .). The purpose of the Association is the study, creation, promotion and dissemination of contemporary music culture, without limitation. For the realization of its objective, the Association will: meetings, conferences, concerts, publications and other similar activities, and also stimulate the creation of libraries and record libraries of contemporary musical art. This institution has hosted such composers as Alfredo del Mónaco, Victor Valera, Adina Izarra, Alfredo Rugeles, among others, those who have participated to the festival "World Music Days" (World Music Days) works awarded and recognized worldwide.
The SVMC has government support and other international institutions of the music world learned as the Inter-American Music Council (ICW). Both institutions, together with the support of other training partners are able to give life to high-level festivals, in which parts are interpreted most talented of the composers featured South American and international level, having for its interpretation of the most prominent musicians and musical groups . At the same time, the composers involved lectures, forums and other methods to disseminate what is his art by promoting the dissemination of these avant-garde trends that are largely distributed.
Another country noted for its commitment to develop the music of the twentieth century has been Mexico, a place that has a rich cultural history that comes from prehistoric times and has tried to maintain over time battling the giant strides of destructive globalization .
But in this country the process of musical evolution is more open to global changes, affected by geography, by technological advances, etc. This meant that composers migrate to other countries where constraints not belonging to their minds are not caps for his creation, looking at other countries (such as USA, Canada, Europe) the methods and means of development for their needs.
In Mexico, the mission of spreading the art of contemporary music is important and we see it reflected in the careers of the area they have in their classes and practical analysis of improvised music for the twentieth century. The latter concept (improvisation) had seen on our continent developed almost exclusively by the field of folklore, limiting the possibilities to only a virtuoso interpreter development, without raising apparent solutions somewhat more complex in terms of music.
Several musical artists have been involved in new experimental currents, such as the "new complexity" (search for complex and conceptual music) which stressed Julio Estrada and electroacoustic music and the powerful influence computer music from the eighties (Álvarez, Russek and Morales). In the last decade certain composers born in the fifties and sixties are experimenting with hybrid trends that recreate a new form of urban popular music and ethnic music of Mexico. Some of these scores have features and an emotional neotonales direct captivated audiences have broad, far from the avant-garde experiments. Among the most consistent feature Arturo Márquez, Marcela Rodríguez, Eugenio Toussaint, Eduardo Soto Millán, Gabriela Ortiz (1964), John Wheatley (1965) and Victor Torn (1956).
2 .- The nationalism and American contemporary music.
In the current musical development, there is some aspect that continues to be present in different compositions: a neo-nationalism. This is just one facet of everything that surrounds the work of this century pointed to the escape of the tonal system, but it feels highly developed in many works, using ethnic resources of each region to see come to an end.
In Venezuela, 200, was held on "Musicology Venezuelan Congress 2000" organized by the Fundación Vicente Emilio Sojo (Funves) and the School of Arts, Faculty of Humanities and Education of the Universidad Central de Venezuela. This conference focused on the use of music as an expression of nationalism, encouraged ethnological work in the development of musical art. Priority is promoting the use of ethical instrument in compositions for printing a "sense of belonging" in their creations. Thus, using typical regional instruments and not derive a special sense symphonic music, printed in this more than the use of twelve-tone system. With this Congress got 26 of 89 Venezuelan composers in their works include instruments of the region, representing 30% of domestic production of music. This determines that it is a particular trend and alive, attached to this music. Here we have an example belonging to our country reflected in the composer Carlos Zamora, who has Tarka works for instruments and camera. On the other hand, the latest trend is to group the instruments pertaining to all of Latin America, fusing sounds, but not in search of a unifying meaning of "race", but rather a timbrística experimentation.
Alicia Terzian, songwriter Argentina's vast experience also develops a contemporary nationalist language, including in their works to the Bandoneon, and other bowed strings, searching the sound of tango in La Boca neighborhood. It also has works that are the electro side and would be "If I Had a Heart", a piece in which there is a high, a pair of baritones and electronics very simple composition and that is what makes it make more musical value for contemporary listener. "Lunar Tango" is another work that looks the color of a tango or milonga somewhat disarmed by the compositional system uses to create his works. His work as composer, conductor, musicologist and diffusion of contemporary music has been rewarded at a young age with the recognition not only at home but also abroad. Proof of this are the numerous accolades, among which, besides those already mentioned, the First Prize of the City of Buenos Aires (1964), the Award "Francisco Solano" (1968), Young Award outstanding Argentine musicians (1970), the Award National Endowment for the Arts (1970), the First National Prize of Music (1982), the Award Gomidas International (1983), the Award of Academic Palms by the French Government, the Decoration SAN SAN Sahak and Mesrop granted by Pope Vazkén I of the Armenian Church (1992), Medal "Alberto Castilla" in Colombia (1994) and Mozart Medal awarded by the International Music Council (1995).
3 .- electroacoustic music and the new composition.
This musical style is also developed in our time, the flexibility and the possibilities that their work is accomplished. The expansion of this field is fairly level in Latin America wide, has managed to spread the spirit of this music ", making the new composers in this field seek solutions to compositional problems.
Colombia was created in a disk with the history of electroacoustic music in that country: "33 years of electroacoustic music in Colombia." In this collection focus the best works of style, including works by the master Fabio González Zuleta (1920) . The work he composed for the year 1965 was the only developed to date in his country, which caused a shudder at learned by new incursions in the musical field. " "Test mail" comes from an experiment, almost game-in studies of the national broadcaster, by that time there were not yet specialized studies in Colombia so that its development involved working me out of the broadcast times to not interfere with programming the station ", says the longtime composer.
Across the Andes, is the composer and teacher creation of this piece. In 1994 he won the "Residence" at the International Competition of Bourges, France, with his work "The other mirror ¨ and in 1996 won the John C. Peace of the National Endowment for the Arts of Argentina. He teaches at the University Lanus and Maimonides University, among others.
From the 80's, began to organize the most important national and international festivals of electronic music: in 1981 he made the 1st Festival "Primavera en Varadero", then "Spring in Havana, Cuba; in 1983 the first "Electroacoustic Music Week" in Argentina, which incidentally now has more than 20 editions, the "Ecuadorian Festival of Contemporary Music", which normally include electroacoustic works and occasionally participates Maestro José Serebrier, and in 1990 created the "Festival Latin American Music " in Venezuela, while not specializing in electroacoustic music, has generally works this movement in Mexico, for 1994 is created "El Callejon del Ruido", since 1996 has been held in Sao Paulo Biennale of Electronic Music.
is also time for an organization of composers for the promotion of electronic music: Argentina Federation of Electroacoustic Music (DMARDs), the Brazilian Society of Electroacoustic Music (SBME), the Cuban Federation of Electroacoustic Music, the Colombian Association of Music Electroacoustic (ACME), and more young is in our country Chilean Electroacoustic Community (CECh.).
4 .- Interview creation of this piece (by Sandra Fuler for the School of Multimedia Communication, Argentina)
"How did your career in the need to venture into the composition, through the application of new digital technologies?
I started writing about using digital technology in 1990 - 91. At that time I did not feel "comfortable" (to call it that) writing instrumental music, there was a way to express my musical ideas. Simultaneously I began to experience what could be done by using a synthesizer connected to a computer via midi, and I was surprised by the large number of possibilities opened to me and all the power to immediately hear the various tests he was doing. I think what attracted me and I still attracts today is the possibility of such direct contact would almost say intimate, with sound. On the other hand I do not want to mention the great influence Enrique Belloc, a true pioneer in our country, took me to my first contacts, and even for my later development.
your opinion, what is the contribution sound synthesis and digital manipulation of sound in historical context, taking into account the ages and after the development of traditional music?
always existed in the history of music very close contact with technology. Different musical instruments are a wonderful and sophisticated example of sound generation. And we find another constant throughout history is the search: the search for new harmonies, new forms of music and, above all, new sounds. The great contribution of sound generation by synthesis or signal processing is the ability to generate many new sounds, own, and fantasize la imaginación del compositor. Pero, e insisto con este punto, no es más que otro paso, un gran paso, en la ecuación compositor / tecnología / búsqueda sonora.
¿Cuáles cree que serán los alcances de la música electroacústica en el futuro?
Es difícil de predecir, sobre todo cuando uno está vinculado a algo y da lugar a que se confunda con el deseo propio. Pienso que puede darse un gran desarrollo en la interacción con instrumentos tradicionales, por supuesto no sólo los europeos, y también en el trabajo conjunto con artistas de diferentes áreas: videastas y realizadores audiovisuales de todo tipo. En cuanto al desarrollo de la música electro itself, which is already happening is a great development and testing of the various possibilities for spatialization of sound, especially in the concert hall. It is something which the various composers have been working for many years, long before the market the Dolby 5.1 for example, is sufficient to recall certain works of Stockhausen's early 60's. Thus, the variable "space" in a speech sound, it will be increasingly a structural component, not a mere decoration, which may or may not.
As a professional what would be the project or development that would be interested to realize in the future?
As I said I have the draft further research on auditory perception, including doing an extensive program to other areas, especially the correlation that can be given to visual perception, which has been investigated in detail. Besides, I have a very ambitious project with the participation of other colleagues in the country and Latin America, which is to create a circuit of electro-diffusion of Latin American business, which is truly vast and often unknown to the Latin Americans themselves. To this we must develop and support activity in the home countries of each of the composers, and I believe that educational institutions are a central fulcrum this task. And of course, continue composing and trying more and more the younger generation is still interested and committed to the creation of sound. We have much to look forward to hear ... "
Conclusion
In Latin America, new musical styles have grown enormously, it has encouraged the development of new concepts of musical art, opening to the avant-garde, yet retaining its roots in some way. Composers migrate to the major musical centers in Europe and re-use their conocimiento por su continente. Por ejemplo vemos a Alicia Terzian, Fernando García, José Serebrier, entre otros, compositores que han logrado traspasar las barreras contemporáneas y han desarrollado su arte a su manera, transformándose en ejemplos para jóvenes músicos que se ven inmersos en la nueva forma de hacer música, que quizás, ya no es tan nueva, y eso es una ventaja, porque ha logrado sobrevivir a través del tiempo y con adversidades culturales y económicas.
En la actualidad vemos varias instituciones que rescatan a los nuevos compositores y los guían hacia el mundo de lo no tonal, de una creación bajo su completo mando, que se puede lograr un control total, o pueden ser unas cuantas dissonances that can identify and meet the needs of the operator and a special audience, immersed in a strange world, maybe looking Stockhausen side who have inside.
Bibliography.
1 .- "Docta Contemporary Music Tests," Several authors. Editorial Colombia. 1970.
2 .- "Docta Contemporary Music", Library Salvat. Editorial Salvat. 1979
3 .- "electroacoustic music and composition Digital
http://multimedia.maimonides.edu/?es/articulos/entrevista/1493.htm
4 .-Paraskevadis Graciela page (unofficial)
http://www.latinoamerica-musica.net/historia/para-dodecafonica.html # cap5
5 .- "The Latin American Electroacoustic Music "Federico Ratti
Shumasherhttp://www.cech.cl/publica/schumacher_me_01.pdf
6 .-" History of the Current Mexican Music Docta "
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