[ANPPOM-L] (sem assunto)
CDMUSICA
cdmusica em unicamp.br
Sex Jul 7 15:13:13 BRT 2006
FWD cdmc - 24/2006
Centro de Documentacao de Musica Contemporanea
CDMC-Brasil/UNICAMP http://www.unicamp.br/cdmc/
(membro da IAMIC - The International Association of Music Information
Centres)
Diretor: Jorge Ruben Tapia
Edicao e Direcao: J. A. Mannis (orientador)
Producao e Montagem do FWD cdmc: Denis Koishi (estagiario)
************************************************************************
************************************************************************
Noticias somente em texto simples, sem figuras nem tabelas, enviar a:
cdmusica em unicamp.br
Para receber/cancelar o recebimento do FWD cdmc enviar seu pedido a
cdmusica em unicamp.br
************************************************************************
************************************************************************
CDMC-Brasil/Unicamp
2006
patrocinio
P E T R O B R A S
************************************************************************
************************************************************************
1 - II JORNADAS ARGENTINAS DE MUSICA CONTEMPORANEA (02-03/Nov/2006 -
Cordoba, ARGENTINA)
2 - 7eme CONCOURS INTERNATIONAL D'ART RADIOPHONIQUE POUR SONS FIXES ET
VOIX (01/Out - Alfortville, FRANCA)
3 - BOLSAS DE ESTUDOS: Deutscher Akademischer Austauschdienst (02/Out -
Escritorio do DAAD, Rio de Janeiro, RJ)
4 - FESTIVAL: Nuit Bleue - Musique Acousmatique et Electronique. Obras
de ZAMPRONHA (BRASIL), LEICHMANN (ARGENTINA), KAPLAN (CHILE), SIGAL (MEXICO)
e outros compositores latino-americanos (07-08/Jul - Saline Royale d'Arc et
Senans, FRANCA)
5 - CONCERTO: Nucleo Musica Nueva de Montevideo. Obras de Eduardo
Bertola e Raul Minsburg (ARGENTINA), Jorge Antunes e Reginaldo de Carvalho
(BRASIL), Santiago Lozano (COLOMBIA), Jorge Martinez Ulloa (CHILE) e Ivan
Fernandez (URUGUAI) (12/Jul, 19:30hs - Montevideo, URUGUAI)
6 - RECITAL: Musica de Camara. Obras de BERNSTEIN, LEO BROUWER, MILHAUD,
OSVALDO LACERDA, MARLOS NOBRE (10/Jul, 17:30hs - Porto Alegre, RS, BRASIL)
7 - 1o.FESTIVAL PETROBRAS DE MUSICA DA ORQUESTRA MIRIM ARMANDO PRAZERES.
Reg.: Carlos Prazeres, Atelisa de Salles e Priscila Loureiro (07/Jul,
19:00hs - Rio de Janeiro, RJ)
8 - FESTIVAL: FEMUSICA 2006 - Festival Internacional de Musica de
Inverno (20-29/Jul - Campos dos Goytacazes, RJ, BRASIL)
9 - LANCAMENTO : LIVRO BRASIL MUSICAL. Ed. : Zelia Chueke. Aut. :
Rogerio Budasz, Zelia Chueke, Cristina Gerling, Rodolfo Coelho de Souza,
Beatriz Ilari, Mauricio Dottori, Isaac Chueke e Daniele Pistone (18/Jul,
15:30hs - ABM, Rio de Janeiro, RJ)
10 - CURSO: CURSO DE SONIDO Y SINTESIS. Prof. Julio Descrivan (12-17/Jul
- USB, Sartenejas, VENEZUELA)
11 - CONCURSO: 2o. Concurso Internacional de Piano Ciudad de Panama
(20-27/Ago - Cidade do Panama, PANAMA)
12 - CONCERTO: ARTHUR KAMPELA, Premiere de "Antropofagia" para guitarra
eletrica e 16 musicos (20/Jul - Stuttgart, ALEMANHA)
13 - CONCERTOS: Quarteto de Brasilia. Obras de Osvaldo Lacerda e Carlos
Gomes (11-14/Jul - Joinville, Jaragua do Sul, Florianopolis e Sao Francisco
do Sul, SC, BRASIL)
14 - CONCERTO: Orquestra de Camara da Cidade de Curitiba. Obras de
OSVALDO LACERDA , CAMARGO GUARNIERI, FRANCISCO MIGNONE, ANTONIO GUERREIRO e
VILLA-LOBOS (07 e 08/Jul - Curitiba, PR, BRASIL)
15 - 1st. INTERNATIONAL CONGRESS OF MUSIC & CONTEMPORARY TECHNOLOGIES
(12-16/Dez/2006 - Sevilha, ESPANHA)
16 - CONCERTO: North Norfolk Music Festival. Clara Rodriguez (piano,
VENEZUELA). Obras de Carlos Nunez, Antonio Lauro, Miguel Astor e Frederico
Ruiz (VENEZUELA); Lecuona (CUBA); Villa-Lobos (BRASIL); Piazzola e Ginastera
(ARGENTINA). (07/Jul, 20:00hs - St Mary's Church, South Creake, REINO UNIDO)
17 - CALL FOR AUDIO: VAGUE TERRAIN 04 - THE BODY DIGITAL (Set/2006 -
CANADA)
18 - CONCERTO: Sinfonica de la Juventud Venezolana Simon Bolivar e
Maestro Carlos Pietro (MEXICO). Obras de Rugeles, Jimenez, Marturet, Teruel
(VENEZUELA); Gutierrez-Heras (MEXICO). (08/Jul - Caracas, VENEZUELA)
19 - 14TH BIENNIAL CONFERENCE: IASPM - The International Association for
the Study of Popular Music (25-29/Jun/2007 - Cidade do Mexico, MEXICO)
********************************************
********************************************
1 - II JORNADAS ARGENTINAS DE MUSICA CONTEMPORANEA (02-03/Nov/2006 -
Cordoba, ARGENTINA)
********************************************
De: [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de Rodrigo
Sigal
Enviada em: quarta-feira, 5 de julho de 2006 14:17
Assunto: [compvenz] II Jornadas Argentinas de Musica Contemporan ea
II JORNADAS ARGENTINAS DE MUSICA CONTEMPORANEA
ORGANIZA: SECRETARIA DE EXTENSION DE LA UNIVERSIDAD NACIONAL DE CORDOBA Y
GRUPO CORAT.
AUSPICIA: "CORDOBA, A TEMPO", PROGRAMA MUSICAL QUE SE EMITE POR RADIO
NACIONAL CORDOBA.
Se invita a los compositores de musica experimental, electroacustica o
mixta, como asi tambien a personas dedicadas al estudio de la musica, a
presentar obras musicales y/o trabajos de investigacion en las II Jornadas
Argentinas de Musica Contemporanea que se realizaran en la Ciudad de
Cordoba, Argentina, los dias 2 y 3 de Noviembre de 2006, en el Pabellon
Argentina de la Ciudad Universitaria.
En lo que se refiere a la investigacion, se aceptaran trabajos de cualquier
disciplina, siempre que tengan un caracter cientifico, es decir, que esten
orientados hacia la busqueda de una explicacion objetiva del fenomeno
musical. Las propuestas deberan ser claras con respecto los objetivos que se
proponen y los metodos aplicados. Se especificaran tambien los resultados
obtenidos y las perspectivas de su futuro desarrollo. Las ponencias tendran
una duracion de 20 minutos.
Los trabajos teoricos, de una extension no mayor a 3000 palabras, deben
estar precedidas por un resumen de 200 palabras y ser enviados por correo
electronico, como archivo adjunto y en formato word a la siguiente direccion
de correo electronico: grupocorat em yahoo.com.ar especificando Asunto:
ponencia. Un comite cientifico evaluara las propuestas recibidas y cada
autor sera informado por correo electronico en el caso de ser aceptado su
trabajo. El material sera publicado y presentado durante las Jornadas.
Arancel destinado a la publicacion de las ponencias: 50 pesos de Argentina o
su equivalente en dolares.
Las obras musicales (duracion maxima 8 minutos) deberan ser enviadas a la
misma direccion de correo electronico en formato mp3 o CD por correo postal
a: Roberto Rue, San Martin 717, CP 5000 Cordoba, Argentina. Las obras mixtas
deberan enviarse grabadas con el o los instrumentos acusticos para su
apreciacion.
Tanto los trabajos teoricos como las obras musicales deben ser enviadas
antes del 15 de Octubre de 2006, incluyendo un breve curriculum. No se
aceptaran envios posteriores a esta fecha.
Para cualquier consulta dirigirse a la anterior direccion de correo
electronico o al Tel.(54-0351) 4235137.
********************************************
********************************************
2 - 7eme CONCOURS INTERNATIONAL D'ART RADIOPHONIQUE POUR SONS FIXES ET
VOIX (01/Out - Alfortville, FRANCA)
********************************************
De: loredane.besnier em alamuse.com [mailto:loredane.besnier em alamuse.com]
Enviada em: terca-feira, 4 de julho de 2006 10:23
Assunto: International competition of radio music composition
7eme CONCOURS INTERNATIONAL D'ART RADIOPHONIQUE
POUR SONS FIXES ET VOIX
INTERNATIONAL RADIO BROADCASTED ARTS COMPETITION
7th EDITION FOR RECORDED SOUNDS AND VOCALS
Tous les deux ans, La Muse en Circuit - Centre National de Creation Musicale
- organise, avec le soutien de la SACEM et de Radio-France et avec la
participation de radios etrangeres, un concours international de creation
radiophonique ouvert aux jeunes compositeurs. Depuis 2005, un partenariat
s'est noue avec le festival Archipel et la Radio Suisse Romande - Espace 2.
Every two years, La Muse en Circuit organizes an international competition
of radio music composition open to young composers, with the support of
Radio France and the participation of foreign radio stations. A partnership
has also been created with the Archipel Festival and the Radio Suisse
Romande - Espace 2 in 2005.
Pour cette septieme edition, nous souhaitons que ce concours devienne le
concours " Luc Ferrari ", en l'honneur de celui qui en fut a l'initiative en
1995. Ainsi, le nom de ce compositeur, qui n'a cesse d'explorer, avec humour
et sensualite, toutes les formes de la composition, du Horspiel a la musique
instrumentale en passant par le theatre musical, pourra etre une source
d'inspiration pour une nouvelle generation de compositeurs et une invitation
a participer de maniere inventive a cette aventure.
For the seventh occasion of this event, we wish this competition to be named
the "Concours Luc Ferrari", in honour of the artist who took the initiative
in creating this project in 1995. The name of this composer, who, by means
of humour and sensuousness, never ceased exploring all forms of composition,
from Horspiel to instrumental music and musical theater, will hopefully be
an inspiration to a whole new generation of composers and invite them to
participate in this adventure in an inventive way.
Les candidats devront deposer un projet de composition faisant, en plus du
travail sur les sons fixes, appel a l'ecriture pour une voix feminine,
chanteuse et/ou comedienne.
The candidates will present a composition project that shall include, in
addition to the work on recorded sounds, a vocal piece for a female voice,
singer and/or actress.
Un concert est prevu au mois de mars dans le cadre du Festival Archipel a
Geneve, concert repris dans le cadre de la Muse en festival en mai 2007 a la
Maison de la Poesie a Paris.
A concert is scheduled in March 2007, as part of the Archipel Festival, and
will also take place in the context of La Muse en Festival in May 2007, at
La Maison de la Poesie in Paris.
Concours Luc Ferrari
REGLEMENT DU CONCOURS
Article 1 - Le " concours Luc Ferrari " est consacre a la composition d'une
oeuvre musicale d'art radiophonique communement appelee horspiel. Il est
organise par La Muse en Circuit, Centre National de Creation Musicale, en
partenariat avec la SACEM, le Festival Archipel, Radio France et d'autres
radios europeennes (Radio Suisse Romande - Espace 2, WDR...).
Article 2 - Le " concours Luc Ferrari " est ouvert aux jeunes compositeurs
de toutes nationalites. Il permet, sur decision d'un jury, de retenir quatre
projets de creation et d'offrir a chacun des quatre laureats la possibilite
de realiser sur une duree de deux semaines une œuvre de quinze minutes dans
les studios de la Muse en Circuit. Les quatre œuvres seront editees sur
disque compact (sortie prevue en mars 2007) et distribuees aupres des radios
francaises et etrangeres.
Elles pourront egalement etre interpretees en concert dans le cadre du
festival Archipel de Geneve et a Paris, dans le cadre de la programmation
musicale de la Muse en Circuit et d'autres festivals illustrant l'art
radiophonique.
Article 3 - Pour postuler au "concours Luc Ferrari ", les candidats devront
presenter un dossier detaille decrivant leur projet qui devra necessairement
faire l'objet d'une restitution sous forme soit stereophonique, soit
multiphonique (format 5 + 1 exclusivement). Il fera appel a des sons dits
"anecdotiques " et a une voix de chanteuse ou de comedienne associee a la
realisation des pieces.
Article 4 - Une bourse de residence de 1 600 euros sera attribuee aux quatre
laureats, apres decision du jury. Ces derniers auront a disposition, pendant
deux semaines, un studio en ordre de marche, une unite mobile de reportage
et l'assistance d'un technicien pour la prise de son et la prise en main des
studios. Les voyages (avion ou train) et l'hebergement sont pris en charge
par le concours.
Afin de preparer leur travail, les candidats recevront une fiche technique
du materiel dont ils pourront disposer. Les residences des laureats seront
planifiees entre le 15 novembre 2006 et le 31 janvier 2007.
Article 5 - Le candidat doit envoyer a la Muse en Circuit avant le 01
octobre 2006, les pieces suivantes :
- La demande d'inscription au concours
- un curriculum vitae
- un texte de deux pages maximum sur le projet que le candidat souhaite
realiser
- une ou plusieurs realisations anterieures, qu'elles relevent ou non d'une
ecriture radiophonique (cassette, DAT, CD), accompagnees d'un bref
descriptif.
Article 6 - Le jury est compose de per sonna l ites du monde de la Mus ique
(compos iteurs, musiciens, chefs d'or chestre, pro ducteu r s, jou r na l i
stes...). Le jury fera conna i tre la liste des laureats du concours par
courrier aux alentours du 15 octobre. Il sera procede au choix des projets
en deux phases successives:
- un premier jury selectionnera huit candidats apres ecoute des documents et
analyse des projets
- Le jury dans sa totalite choisira quatre laureats lors d'un second examen
; les decisions prises par le jury seront sans appel. Le jury se reserve le
droit de retenir un nombre inferieur de laureats qu'initialement prevu
- La dema nde de pa rtici pation et la pr e sentation des projets pour ce
concours comprend l'acceptation de la part du candidat de toutes les
conditions prevues dans le present reglement.
En cas de contestation, la version en langue francaise fait autorite. Pour
tout litige, seul le Tribunal de Creteil a competence.
Competition regulations
Article 1 - The "Concours Luc Ferrari" is dedicated to the art of radio
music composition (such a work being commonly known as a horspiel). It is
organized by La Muse en Circuit, a music creation institute, in partnership
with the SACEM, Radio France, the Archipel Festival and other European radio
stations (Radio Suisse Romande - Espace 2, WDR...).
Article 2 - The competition is open to young artists of any nationality. A
jury will select four of the submitted projects, and each of the four prize
winners will be offered the opportunity to produce, within a fortnight
period, a fifteen-minute creative work in La Muse en Circuit studios. The
four works will be recorded on CDs (release due March 2007) and distributed
to French and foreign radio stations. They will also be performed live as
part of the Archipel Festival in Geneva, and in Paris, in the context of the
musical events organized by La Muse en Circuit and other festivals linked to
radio art.
Article 3 - The candidates who wish to enter the "Concours Luc Ferrari" must
provide a fully detailed application file which describes their project and
which will be returned to them, either in stereophonic or polyphonic form
(5+1 format only for the latter). The project must include so-called
"anecdotal" sounds as well as the voice of a singer or an actress who will
take part in the performances.
Article 4 - Upon the jury's decision, the four prize winners will be awarded
a 1 600 euros grant. During two weeks, a fully operational recording studio
will be at the four winners' disposal, as well as a mobile reporting unit. A
technician will be attending the recording sessions and will manage the
studio's regular operating assistants. The costs of travel (plane or train)
and hotel accomodation will be borne by the competition organizers.
In order to help them prepare their works, prize winners will be provided
with the studio's list of technical equipment at their disposal. Their
in-residence will be scheduled between November 15th, 2006 and January 31st,
2007.
Article 5 - All candidates must send the following documents to La Muse en
Circuit before October 1st, 2006 :
- the competition application form
- a resume
- a text about the project they wish to carry out (no more than two pages)
- one or several former creations, whether or not it be a radio broadcast
(tape, DAT, CD), with a short description.
Article 6 - The jury is composed of personalities within the music world
(composers, musicians, conductors, producers, journalists...). The list of
the prize winners will be sent to the candidates by mail around October
15th, 2006. The selection will be conducted in two stages :
- a pre-jury will select eight candidates after having listened to the
documents, read them, and analyzed the projects
- the whole jury will then proceed to a second examination and will choose
four candidates.
The jury's decision is final and beyond appeal. The jury reserves the right
to select fewer winners than initially planned.
The request for participation and the submission of projects implies the
acceptance by the applicant of all the conditions provided in the present
regulations.
In the event of any claims being made, the French language version of the
regulations will be cons idered having exclusive jurisdiction. This
agreement will be governed by and construed according to French law and any
dispute or suit which may arise hereunder shall be subject to the exclusive
jurisdiction of the Creteil Court, France.
BULLETIN D'INSCRIPTION
APPLICATION FORM
Nom / Name
Prenom / Surname
Adresse / Address
Email
Pays / Country
Tel. / Phone number
Date de naissance / Date of birth
A ENVOYER A / TO BE SENT TO LA MUSE EN CIRCUIT
avant le 01 octobre 2006
before 1st october 2006
La Muse en Circuit
18 rue Marcelin Berthelot
94140 Alfortville / FRANCE
T : +33 (0)1 43 78 80 80
F : +33 (0)1 43 68 25 52
Email : loredane.besnier em alamuse.com
PIECES A JOINDRE AU DOSSIER
(avant le 01 octobre 2006)
> un curriculum vitae
> un texte de deux pages maximum sur le projet que le candidat souhaite
realiser
> une ou plusieurs realisations anterieures, relevant ou non d'une ecriture
radiophonique
(cassette, DAT, CD), accompagnee d'un bref descriptif
PLEASE ATTACH
THE FOLLOWING DOCUMENTS
(before 01st october 2006)
> a resume
> a composition (not more than 2 pages) about the project that the candidate
wishes to establish
> one or several projects, whether it refers to a radio broadcast or not
(tape, DAT, CD), with a brief description
********************************************
********************************************
3 - BOLSAS DE ESTUDOS: Deutscher Akademischer Austauschdienst (02/Out -
Escritorio do DAAD, Rio de Janeiro, RJ)
********************************************
De: [mailto:anppom-l-bounces em iar.unicamp.br] Em nome de zchuekepiano em ufpr.br
Enviada em: sabado, 1 de julho de 2006 19:04
Assunto: [ANPPOM-L] DADD Musica
OFERECIMENTO DE BOLSAS PARA "MUSIKHOCHSCHULEN" NA ALEMANHA
IDADE LIMITE: 32 ANOS.
DAAD
Deutscher Akademischer Austauschdienst
Servico Alemao de Intercambio Academico
Bolsas de Estudos nas areas de Artes Plasticas e Musica
2007-2008
Inscricoes ate 02 de outubro de 2006 no escritorio do DAAD no Rio de Janeiro
Objetivo
* As universidades alemas oferecem a candidatos estrangeiros a possibilidade
de um aperfeicoamento nas areas de Artes Plasticas e Musica.
Duracao
* A bolsa abrange o periodo de um ano letivo, nao podendo ser prorrogada.
Beneficios da Bolsa de Estudo
* Valor mensal de 715,- Euros
* Passagem aerea
* Seguro-Saude
* DAAD nao paga eventuais taxas ou mensalidades as Universidades.
Orientacoes:
* As bolsas serao concedidas para candidatos com diploma de nivel superior
em Musica e Artes Plasticas, que tenham esgotado as oportunidades de
formacao no pais de origem.
* As bolsas destinam-se prioritariamente a estudos nas Universidades ou
Escolas Superiores de Arte ("Kunsthochschulen"); as bolsas para musicos
destinam-se exclusivamente para cursos de aperfeicoamento
("Vertiefungsstudium") ou especializacao ("Aufbaustudium") em uma Escola de
Musica ("Musikhochschule").
* Idade limite e de 32 anos por ocasiao do inicio da vigencia da bolsa ou
por criterio da comissao julgadora da universidade alema.
* Candidatos que residem ha mais de um ano na Alemanha sao excluidos desse
processo.
* A selecao dos candidatos e realizada por uma comissao do DAAD, composta
por docentes das respectivas areas de interesse dos candidatos, com base na
documentacao e em amostras da producao artistica.
Observacoes:
* A concessao da bolsa nao equivale a aceitacao automatica por parte da
universidade alema. Antes de candidatar-se a bolsa, o candidato devera
estabelecer contatos previos com a universidade alema de sua preferencia,
buscando informacoes sobre os requisitos e criterios de aceitacao, sobre o
programa de estudos e sobre o corpo docente. Apos a selecao, o DAAD fara a
inscricao do bolsista na universidade.
* O candidato tem que mencionar ao DAAD em qual Instituicao Superior e com
qual professor quer estudar e se ja tem um contato previo com esse
professor. Um estudo com um professor da mesma nacionalidade so pode ser
financiado em casos excepcionais.
* Cabe a universidade alema decidir sobre a aceitacao do bolsista, sobre a
aceitacao na classe de um professor, sobre o reconhecimento de estudos
anteriores. Em alguns casos os candidatos devem submeter-se a uma prova de
admissao na Alemanha. A bolsa e implementada assim que o estudante for
aceito pela universidade.
Documentacao geral:
A documentacao em alemao ou ingles deve ser apresentada em 3 (tres) vias,
ordenada conforme relacao abaixo:
1. Formulario verde do DAAD "Jahresstipendien" (favor desconsiderar os
anexos mencionados no formulario)
2. Carta do candidato, ressaltando os motivos que o levaram a optar pelo
curso, destacando seus objetivos profissionais e a importancia do curso de
aperfeicoamento para seu futuro profissional.
3. Curriculum Vitae, com detalhamento da experiencia profissional.
4. Duas cartas de recomendacao de professores, ressaltando a qualificacao
profissional do candidato.
5. Copia autenticada do diploma de graduacao e traducao juramentada do
mesmo, autenticada por um Consulado Geral ou Honorario da Alemanha.
6. Copia autenticada do historico da graduacao e traducao juramentada do
mesmo, autenticada por um Consulado Geral ou Honorario da Alemanha.
7. Avaliacao dos conhecimentos de alemao realizada por uma representacao do
Instituto Goethe ou por um Leitor de alemao do DAAD, em formulario proprio.
Os conhecimentos de alemao sao relativos para esse processo. Cabe ao
professor alemao decidir sobre o nivel de conhecimento do idioma e se a
comunicacao tambem pode ser realizada em outro idioma.
Documentacao especifica:
a) para pintores
Candidatos devem apresentar ate 5 obras (produzidas no maximo ha dois anos
no ato da candidatura), assim como diversos esbocos ou desenhos, fotos ou
videos. As provas devem ser assinadas e datadas pelo autor.
As obras deverao ser devidamente embaladas (pastas ou rolos). Quando um
envio de originais for inviavel, deverao ser enviadas slides das obras,
contendo alem do nome do autor, a posicao correta da obra:
1. anotacao na parte da frente do slide: para cima, para baixo
2. informacoes sobra a tecnica, formato e data da obra
b) para escultores
As obras deverao ser retratadas em fotos (formato minimo de 18 cm x 24 cm),
slides, videos ou esbocos. Cada obra deve estar retratada por diversos
angulos. Nas fotos devem conter as indicacoes 1. e 2. mencionadas acima.
c) para musicos
O candidato deve apresentar uma gravacao (em CD, MD, DAT, eventualmente
fita-cassete) de obras musicais de elevado nivel de complexidade de tres
epocas estilisticas diferentes, relevantes para a area. Uma das obras devera
ser de Musica Contemporanea. Nao se aceita interpretacoes de trechos
isolados.
O tipo de gravacao deve ser compativel com aparelhos de audio comum (nao de
estudio). A velocidade pode ser de 9,5cm/seg. ou de 19cm/seg.
As obras interpretadas devem estar devidamente identificadas, indicando
exatamente o inicio de cada e separadas por um intervalo.
As gravacoes devem trazer o registro da data e vir acompanhadas de um indice
que permita a selecao dos trechos e das obras. O meio utilizado (CD, MD ou
DAT) deve vir sobrescrito com o nome do candidato e com a data da gravacao
bem como com dados da obra apresentada, duracao de cada trecho. Queremos
ressaltar a importancia da qualidade da gravacao.
O tempo total da gravacao nao deve ser inferior a vinte minutos (cantores) e
a trinta minutos (musicos instrumentais).
* Candidatos da area de Musica Erudita instrumental devem apresentar a
interpretacao de obras completas (nao apenas trechos!) de pelo menos tres
epocas musicais distintas.
* Cantores tambem devem apresentar uma diversidade de estilos em sua area.
* Candidatos a musica de camara e acompanhamento de Lieder devem acrescentar
uma gravacao nesta modalidade de apresentacao.
* Integrantes de orquestras devem apresentar uma gravacao como solistas.
* Musicos de Jazz devem apresentar ao menos tres gravacoes de diferentes
caracteristicas e tempos (p.ex. baladas, pecas mais rapidas).
* Compositores devem apresentar gravacoes com composicoes proprias, anexando
as respectivas partituras.
* Regentes de orquestra ou coro devem apresentar uma fita de video de suas
apresentacoes (VHS PAL, VHS, NTSC, -4.43 Mhz e PAL-SECAM; -OST, todos os
sistemas em velocidade SP), preferencialmente em ensaios com o rosto virado
para uma das camaras. Adicionalmente e necessaria uma gravacao com
interpretacao instrumental propria.
Maiores Informacoes:
Denise Vianna Nunes
DAAD - Rio de Janeiro
Rua Presidente Carlos de Campos, 417
22231-080 Rio de Janeiro
Tel. 021 2553-3296
projetos em daad.org.br
http://rio.daad.de
********************************************
********************************************
4 - FESTIVAL: Nuit Bleue - Musique Acousmatique et Electronique. Obras
de ZAMPRONHA (BRASIL), LEICHMANN (ARGENTINA), KAPLAN (CHILE), SIGAL (MEXICO)
e outros compositores latino-americanos (07-08/Jul - Saline Royale d'Arc et
Senans, FRANCA)
********************************************
De: [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de Mirtru
Escalona-Mijares
Enviada em: domingo, 2 de julho de 2006 18:53
Assunto: [compvenz] Nuit Bleue de Musica Electroacustica.
VOYAGE EN UTOPIE SONORE
L'association Elektrophonie organise la cinquieme edition de la Nuit Bleue
les 7 et 8 juillet 2006 a la Saline Royale d'Arc et Senans (Franche-Comte).
Festival representatif de divers courants des musiques electroniques, la
Nuit Bleue est un evenement unique en son genre qui presente trente heures
de musiques acousmatiques, electroacoustiques et electroniques dans un cadre
architectural exceptionnel.
A l'ecart des courants plus commerciaux de la techno et de la house music,
la Nuit Bleue propose un voyage sur deux nuits entieres a travers differents
univers sonores aux esthetiques distinctes, mais qui tous privilegient la
richesse et l'invention sonores.
La Nuit Acousmatique reunit des compositeurs issus en majorite de la scene
musicale contemporaine et des artistes electronica habitues des experiences
musicales. Voyage interieur au cœur de la matiere sonore, cette premiere
nuit peut se vivre comme une experience psychedelique.
La Nuit Electronique presente treize live d'artistes parfois regroupes sous
l'appellation Intelligent Dance Music et interesses avant tout par les
inventions rythmiques et melodiques. Entre trip hop instrumental et
breakcore, cette seconde nuit s'adresse tout autant au corps qu'a l'esprit.
Les Parentheses presentent les pieces de quarante six musiciens et
formations, tous createurs d'une musique d'ecoute ludique et hors norme. Au
programme de ces seances d'ecoute intimistes : phonographie, plunderphonie,
minimale, ambient, noise, electronica, electro cut-up, paysages sonores...
Une equipe d'eclairagistes faisant partie de l'Observatoire 1, connu pour
ses mises en lumieres architecturales avec Jean Nouvel notamment, propose
une plongee dans le bleu a l'interieur de la salle de concerts. Guide vers
la salle par un courant lumineux, l'auditeur sera balance par de legeres
variations de lumiere au cœur d'un dispositif complet ou le son, comme
toujours, donnera autant a voir qu'a entendre. Veritable immersion dans la
couleur aussi bien que dans l'espace architectural, la cinquieme Nuit Bleue
portera bien son nom.
La Saline Royale d'Arc et Senans, " Cite Ideale " de l'architecte
visionnaire Claude-Nicolas Ledoux, est ainsi le point de depart naturel de
ce Voyage en Utopie sonore ou l'on pourra aussi ecouter avec les yeux.
Cette annee, la Nuit Bleue s'inscrit dans les festivites organisees pour le
bicentenaire de la mort de Claude-Nicolas Ledoux, dont la Saline Royale
d'Arc et Senans constitue l'œuvre la plus marquante.
02/07/2006 03:50 PM Association Elektrophonie
<ELEKTROPHONIE>
07 JUILLET - NUIT ACOUSMATIQUE
08 JUILLET - NUIT ELECTRONIQUE
08 JUILLET - PARENTHESES
Nuit bleue 2006 - 07 juillet - nuit acousmatique
VENDREDI 7 JUILLET 2006 - DE 21H A 7H
Ouverture des portes a 20h
La Nuit Acousmatique tente la gageure de reconcilier le public avec les
musiques dites savantes, que l'on considere - souvent a tort - comme
reservees aux inities. Programmees conjointement par Elektrophonie, le
Centre Mexicain de la Musique et des Arts Sonores, le TallerElectro (Chili)
et la Communaute Electroacoustique du Chili, les oeuvres des heritiers de
Pierre Schaeffer et Pierre Henry, inedites pour la plupart, seront
interpretees sur un acousmonium de cinquante haut-parleurs repartis dans
l'assistance. Plonge au coeur du continuum sonore, installe sur une chaise
longue ou allonge sur un matelas, l'auditeur est ainsi convie a une
veritable experience sensorielle.
Deux live electroniques s'integrent a ce continuum : le Japonais Aoki
Takamasa joue une electronica parfois aux frontieres de l'electro-pop,
ludique et decalee, avec ses textures irisees et ses rythmes destructures.
Frank Bretschneider, co-fondateur du label Raster-Noton, pionnier de la
techno minimale allemande, propose une interpretation toute personnelle du
drone et du click 'n cut, explorant micro-rythmes et infra-basses.
PROGRAMMATION
Manuel ROCHA : Cantos rituales - Mexique
Otto CASTRO : Costa Rica - Costa Rica
Diego LOSA : Cronicas del Tiempo - France / Argentine
Javier LEICHMANN : Materiales y Organizacion S.A. - Argentine
AUTECHRE : Parhelic Triangle - Royaume Uni
AUTECHRE : Bine - Royaume Uni
Laurie RADFORD : Les Ponts de l'espace - Canada
Javier ALVAREZ : Mambo a la Braque - Mexique
Marco MARINI : SAM - France
Christian GALARRETA : Rico Rimac - Perou
Aoki TAKAMASA : LIVE - Japon
Alejandro JOSE : Pulsar : El Caribe - Republique Dominicaine
Adolfo KAPLAN : La Sombra del Sonido - Chili
Federico SCHUMACHER : El Punto Immovil - Chili
AUTECHRE : Rsdio - Royaume Uni
Per SAMUELSSON : Ljudtrapp - Suede
David FORTEZ : Remiage - Belgique
Marc FAVRE : Vif argent - France
Edgar NICOULEAU : Au nom du pere - France
Frank BRETSCHNEIDER : LIVE - Allemagne
Robert MACKAY : Voicewind - Royaume Uni
Joaquin ORELLANA : Humanofonia - Guatemala
Santiago DIEZ : Tynajas - Argentine
Jose Miguel CANDELA : Un camino nuevo - Chili
Arturo RODAS : Fermez les yeux SVP - Equateur
Edgar BARROSO : Dux - Mexique/Espagne
Annette VANDE GORNE : Ce qu'a vu le vent d'Est - Belgique
Hector QUINTANAR : Voz - Mexique
Rodrigo SIGAL : Cycles Stop - Mexique
Rodrigo SIGAL : Cycles potS - Mexique
Damian O'RIAIN : Nostos Algos - Irlande
Rajmil FISCHMAN : Erwin's Playground - Perou
Mirtru ESCALONA : Ecoute s'il a plu - Venezuela
Oscar CHAVEZ : Mi Puchunguita Guindeando el Baflerio - Colombie
Edson ZAMPRONHA : Sentimiento Plastico - Bresil
AUTECHRE : Drane - Royaume Uni
Pablo GARCIA : Gong Applause - Mexique
Ken UENO : Zanzetsu - Etats Unis
Juan BLANCO : Interludio con maquinas - Cuba
Antonio FERREIRA : Wind Speaks to Stone - Portugal
Berangere MAXIMIN : Tant que les heures passent - France
Carlos VAZQUEZ : Esa medalla me quema el pecho - Puerto Rico
James Paul SAIN : Coriolis Effect - Etats Unis
Biagio PUTIGNANO : Se le stelle fossero sogni - Italie
AUTECHRE : Fermium - Royaume Uni
AUTECHRE : C/Pach - Royaume Uni
EXTRAITS MUSICAUX
Berangere MAXIMIN - Tant Que Les Heures Passent
Carlos VAZQUEZ - Esa Medalla Me Quema El Pecho
Edgar BARROSO - Dux
Federico SCHUMACHER - El Punto Immovil
Manuel ROCHA - Cantos Rituales
Robert MACKAY - Voicewind
Rodrigo SIGAL - Cycles PotS
Santiago DIEZ - Tynajas
VOYAGE TRANSACOUSTIQUE ET TRANSATLANTIQUE
La "Nuit Acousmatique" de la "Nuit Bleue" est organisee en partenariat avec
le Centre Mexicain de la Musique et des Arts Sonores, le TallerElectro
(Chili) et la Communaute Electroacoustique du Chili. Dans le cadre de ce
partenariat, intitule "Voyages Transacoustique et Transatlantique", chacun
des partenaires programme une partie de la nuit en choisissant les musiques
de compositeurs de sa zone geographique : sont ainsi representees l'Europe
et les Ameriques (Nord, Centrale et Sud). Le meme concert est organise a Arc
et Senans par Elektrophonie dans le cadre de la Nuit Acousmatique, a Mexico
par le CMMAS en septembre 2006, et a Santiago du Chili par le TallerElectro
et la Cech en novembre 2006.
CMMMAS - Fonde a Morelia par la Direction Culturelle du Michoacan et par le
Centre National des Arts du Mexique, le Centre Mexicain pour la Musique et
les Arts Sonores (CMMAS) soutient la recherche musicale contemporaine. Il
accueille des compositeurs, des interpretes et des chercheurs mexicains et
etrangers et les accompagne dans la realisation de leurs projets. En
intervenant dans les domaines de la formation, de l'experimentation, de la
recherche, de la production et de la diffusion musicales, le CMMAS cherche a
promouvoir l'invention de nouvelles methodes de travail et de recherche
sonores (et l'integration de ces methodes au sein des processus de creation,
de produc-tion et de diffusion musicales). Deja tres actif au niveau de la
ville de Morelia, le CMMAS est en passe de devenir le principal centre
mexicain dedie a l'apprentissage des differentes formes de mu-sique
contemporaine et de technologie musicale.
www.cmmas.org
TallerElectro - Fonde au Chili en 2004, le TallerElectro est un collectif de
compositeurs electroacoustiques et de musiciens electroniques chiliens et
latino-americains. Il a pour principal objectif de tisser des liens entre
ces deux univers sonores qui ne se rencontrent que trop rarement. Concu au
depart comme un groupe d'echange, de rencontre et d'experimentation, le
TallerElectro organise des 2005 quatre concerts melant musiques
electroacoustiques, experiences live-electronics et DJ sets. Le collectif a
par ailleurs publie un CD regroupant les travaux de ses membres.
http:// groups.yahoo.com/group/tallerelectro
CECH - La Communaute Electroacoustique du Chili (Cech) a ete creee en aout
2002 par un groupe de jeunes compositeurs electroacoustiques chiliens.
Membre de la Confederation Internationale de Musique Electroacoustique
depuis 2003, la Cech est devenue l'une des associations de compositeurs les
plus actives d'Amerique Latine. Elle organise 02/07/2006 03:50 PM
Association Elektrophonie : Nuit bleue 2006 - 07 juillet - nuit acousmatique
notamment le festival international de musiques electroacoustiques Ai-Maako,
qui se deroule depuis cinq ans a Santiago du Chili. Au fil des annees, la
Cech a integre en son sein la plupart des compositeurs historiques de
l'electroacoustique chilienne, etablissant des rapports durables entre les
anciennes et les nouvelles generations de compositeurs. Elle fete en 2006
les cinquante ans de la musique electroacoustique au Chili.
www.cech.cl - www.electroacusticaenchile.cl
********************************************
********************************************
5 - CONCERTO: Nucleo Musica Nueva de Montevideo. Obras de Eduardo
Bertola e Raul Minsburg (ARGENTINA), Jorge Antunes e Reginaldo de Carvalho
(BRASIL), Santiago Lozano (COLOMBIA), Jorge Martinez Ulloa (CHILE) e Ivan
Fernandez (URUGUAI) (12/Jul, 19:30hs - Montevideo, URUGUAI)
********************************************
De: NucleoMusicaNueva [mailto:nmnm em adinet.com.uy]
Enviada em: domingo, 2 de julho de 2006 20:19
Assunto: Nucleo Musica Nueva de Montevideo.
nucleo musica nueva de montevideo
40 anos del nucleo musica nueva:
musica electroacustica en el
centro cultural de espana
El miercoles 12 de julio a las 19:30 horas el Nucleo Musica Nueva de
Montevideo realizara un concierto de musica electroacustica en colaboracion
con el Centro Cultural de Espana, en la sede de esta institucion, Rincon 629
(entre Bartolome Mitre y Juan Carlos Gomez).
Este concierto, tercero de las Jornadas 2006 de Musica Electroacustica,
presentara obras de los argentinos Eduardo Bertola y Raul Minsburg, de los
brasilenos Jorge Antunes y Reginaldo de Carvalho, del colombiano Santiago
Lozano, del chileno Jorge Martinez Ulloa y del uruguayo Ivan Fernandez, casi
todas ellas en primera audicion.
La entrada es libre.
En el 2006 el Nucleo Musica Nueva de Montevideo cumple 40 anos de actividad
ininterrumpida, y esto lo convierte en una de las instituciones mas antiguas
del mundo, entre las especializadas en la difusion de la musica culta
contemporanea. Fundado en 1966, el Nucleo se ha abocado a esa tarea de
difusion, a traves de la realizacion de conciertos instrumentales y vocales,
jornadas de musica electroacustica, de video y de exhibicion de partituras,
seminarios, talleres, conferencias y encuentros, en los que han participado
tanto musicos uruguayos como de numerosos otros paises. Gracias al enfoque
militante de la actividad de sus integrantes y colaboradores, la entrada a
las actividades del Nucleo ha sido durante los 40 anos casi siempre
gratuita, y ha constituido una invalorable fuente de informacion y formacion
para sucesivas generaciones de jovenes musicos. El Nucleo Musica Nueva esta
actualmente integrado tanto por compositores como por interpretes, y
funciona como un colectivo que rota en las tareas de organizacion.
La temporada celebratoria del 2006 ha sido declarada de interes ministerial
por el MEC, y sera de gran intensidad. Colaboran en la misma diversas
instituciones uruguayas y extranjeras, que haran posible, entre otras cosas,
la presencia de conjuntos de camara europeos de primera linea.
********************************************
********************************************
6 - RECITAL: Musica de Camara. Obras de BERNSTEIN, LEO BROUWER, MILHAUD,
OSVALDO LACERDA, MARLOS NOBRE (10/Jul, 17:30hs - Porto Alegre, RS, BRASIL)
********************************************
De: extmusica-l-bounces em ufrgs.br [mailto:extmusica-l-bounces em ufrgs.br] Em
nome de Extensao Musica
Enviada em: terca-feira, 4 de julho de 2006 17:12
Assunto: [Extmusica-l] Correcao na data: Recital de Musica de Camara - 10/07
RECITAL DE MUSICA DE CAMARA - 2006/I
10 de julho de 2006
as 17h30min
Auditorio Tasso Correa
Programa
Joseph Haydn - Trio no. 4 para dois violinos e baixo
I-Moderato
II-Tempo de minueto
III-Allegro
Interpretes:
Tiago Ribas (violino)
Augusto Corralo (violino)
Andrea Bocchi (violoncello)
Nicolo Paganini - Sonata concertata para violao e violino
I- Allegro spiritoso
II- Adagio assai expressivo
III- Rondeau
Interpretes:
Augusto Corralo (violino)
Gevago Prescendo (violao)
Leonard Bernstein - Sonata for Clarinet and Piano (1941-42)
I- Grazioso
II- Andantino-Vivace e leggiero
Interpretes:
Elimar Blazina (clarineta)
Fernando Rauber Goncalves (piano)
Leo Brouwer (1939) - Musica Incidental Campesina 1939
I - Preludio
II - Interludio
III- Danza
IV - Final
Interpretes:
Mario Tressoldi (violao)
Robson Serafini (violao)
Marlos Nobre - Ciclo Nordestino, op. 5
I - Samba Matuto
II - Cantiga
III - E Lamp
IV - Gaviao
V - Martelo
Interpretes:
Mario Tressoldi (violao)
Robson Serafini (violao)
Johannes Brahms - Zigeunerlieder , op. 103
- He, Zigeuner
- Hochgeturmte Rimaflut
- Wisst ihr, wann mein Kindchen
- Lieber Gott, du weisst
- Brauner Burshe
- Roslein dreie in der Reihe
- Kommt dir manchmal in den Sinn
- Rote Abend wolken
Interpretes:
Ricardo Barpp (baritono)
Jesse Martins (piano)
Johannnes Brahms - Sonata para piano e clarineta em fa menor, op. 120 no. 1
II - Andante un poco Adagio
III- Allegretto grazioso
IV - Vivace
Interpretes:
Ramon Stein (clarineta)
Daniel Benitz (piano)
Johannes Brahms - Funf Lieder, op. 105
I- Wie melodie zieht es mir
II- Immer leiser wird mein Schlummer
III- Klage
IV- Auf dem Kirchhofe
IV- Verrat
Interpretes:
Raissa Panatieri (mezzo-soprano)
Karin Engel (piano)
Mario Castelnuovo Tedesco - Fantasia op. 145 para piano e violao
I-Andantino
II-Vivacisssimo
Interpretes:
Lucas Martini Volpatto (violao)
Frederico Bezerra (piano)
Fernando Sor - Divertimento, op. 62
I-Andante cantabile
Interpretes:
Leandro Chaves (violao)
Andre Souza (violao)
Osvaldo Lacerda - Sonata para Flauta-Doce e Piano
I-Vivo
II- Lento
III- Tema e Variacoes
Interpretes:
Larissa Pedrini (flauta -doce)
Jesse Martins (piano)
Marlos Nobre - Ciclo Nordestino, op. 5
I - Samba Matuto
II - Cantiga
III - E Lamp
IV - Gaviao
V - Martelo
Interpretes:
Nana Pombo (violao)
Eduardo Pastorini (violao)
Darius Milhaud - Suite Scaramouche (suite pour deux pianos)
I-Vif
II- Modere
III- Brazileira
Interpretes:
Carolina Avellar (piano)
Melissa Iung (piano)
********************************************
********************************************
7 - 1o.FESTIVAL PETROBRAS DE MUSICA DA ORQUESTRA MIRIM ARMANDO PRAZERES.
Reg.: Carlos Prazeres, Atelisa de Salles e Priscila Loureiro (07/Jul,
19:00hs - Rio de Janeiro, RJ)
********************************************
De: Cida Fernandes [mailto:cidaclf em globo.com]
Enviada em: domingo, 2 de julho de 2006 17:36
Assunto: 1o.FESTIVAL PETROBRAS DE MUSICA - Estreia sexta-feira, dia 7 de
julho
1o. FESTIVAL PETROBRAS DE MUSICA DA ORQUESTRA MIRIM ARMANDO PRAZERES
No proximo dia 7 de julho, sexta-feira, as 19h, no Auditorio Armando
Prazeres, acontecera o concerto de abertura do 1o.FESTIVAL PETROBRAS DE
MUSICA DA ORQUESTRA MIRIM ARMANDO PRAZERES, reunindo os 88 integrantes das
duas Orquestras: a Mirim, formada por criancas de 10 a 14 anos e Academia
Petrobras Sinfonica , formada por jovens ate 28 anos.
Alem de compositores como Mozart , Beethoven e Tchaikovsky o concerto
apresentara uma composicao de Rodrigo Alencastre, de 17 anos, "Quarteto para
Cordas" que abrira a noite. Na regencia, alem os experientes Carlos Prazeres
e Atelisa de Salles, a estreia de Priscila Loureiro de 22 anos.
O Festival se estendera ate o dia 14 de julho, com aulas de concertos de
camara. As aulas ficarao a cargo do violinista Paulo Bosisio e mais 4
professores da UniRio.
Todos os eventos do Festival terao Entrada Franca e acontecerao no Auditorio
Armando Prazeres, no Flamengo.
PROGRAMA
Rodrigo Alencatre - Quarteto para Cordas
Offenbach - Can -Can (opereta da Opera A Viuva Alegre)
Mozart - Marcha
arranjo : Alvaro Carrieto; regencia : Priscila Loureiro
Beethoven - Ode
arranjo : Alvaro Carrietto; regencia : Atelisa de Salles
5a. Sinfonia de Tchaikovsky : regencia : Carlos Prazeres
BREVE HISTORICO
O amor a arte, a descoberta de talentos em lugares pobres e a oportunidade
de oferecer um futuro brilhante para dezenas de jovens cariocas. Com esses
ideais, a Orquestra Petrobras Sinfonica ao completar 15 anos de existencia
deu um fruto excepcional: a Academia Pettrobras Sinfonica. Com o objetivo de
formar musicos, no sentido mais abrangente da palavra, a orquestra foi
criada para criancas e jovens talentosos que se dispusessem a aprender desde
como se comportar numa orquestra ate como tocar em conjunto dentro de uma
sinfonica.
Dirigida pela violoncelista Atelisa de Salles, uma das fundadoras da OPES, a
atuante Academia Petrobras Sinfonica, frutificou mais uma vez possibilitando
a criacao da Orquestra Mirim Armando Prazeres que estreou como a terceira
orquestra do "grupo" Prazeres em 2005. O protagonismo juvenil e a saida para
burilar ainda mais os jovens musicos e coloca-los como atuantes
transformadores da realidade. Pensando nisso, criou-se uma nova orquestra
que atende criancas criancas e adolescentes de 5 a 17 anos das comunidades
da Tavares Bastos (Catete), Morro Azul (Flamengo), Vidigal (S. Conrado), Sao
Joao (Eng. Novo), Babilonia (Leme), Cerro Cora (Cosme Velho).
Os pequenos instrumentistas, vindos destas comunidades , ja exibem seu
talento em instrumentos de corda em audicoes proprias.
A Diretora -ATELISA DE SALLES
Atelisa de Salles graduou-se pela UFRJ, na classe de violoncelo do professor
Ibere Gomes Grosso. Participou do VII Concurso Internacional de Violoncelo
de Budapeste, apos ter sido contemplada com bolsa de estudos para a Hungria.
Lecionou violoncelo nos Seminarios de Musica Pro-Arte, nos cursos
internacionais de ferias de Petropolis, Brasilia e da Abrarte. Pertenceu a
Orquestra Sinfonica Brasileira e a Sinfonica Nacional na qualidade de
concertino. Atualmente, e professora na Escola de Musica Villa-Lobos, onde
tambem acumula o cargo de coordenadora de Musica de Camara, regeu a
Orquestra Sinfonica e foi violoncelista da OPES. Em 2002, deixou o cargo de
violoncelista para se dedicar integralmente a ACADEMIA PETROBRAS SINFONICA.
O Diretor Musical - CARLOS PRAZERES
Carlos Prazeres e filho de Armando Prazeres, de quem recebeu todos os
incentivos para iniciar seus estudos aos nove anos, optando pelo oboe. Aluno
de Luis Carlos Justi, estudou na Uni-Rio, ate 1997.
Ja atuou como solista junto a diversas orquestras, entre as quais a
Orquestra Sinfonica Petrobras-Pro Musica, a Orquestra de Camara da Uni-Rio,
a Orquestra Jovem do Rio de Janeiro e a Orquestra Pro Musica de Juiz de
Fora, sob a regencia de maestros de renome como David Machado, Armando
Prazeres, Ernani Aguiar e Sam Zebba.
Ate 1997, Carlos Prazeres foi o primeiro oboe da Orquestra Sinfonica
Petrobras-Pro Musica e da Orquestra Sinfonica do Theatro Municipal do Rio de
Janeiro.
Recebeu, , uma bolsa da Fundacao Vitae, para se aperfeicoar na Academia
Karajan, da Orquestra Filarmonica de Berlim, sob a orientacao do professor
Andreas Wittman, integrando na ocasiao o naipe de oboes da orquestra, sob a
regencia de James Levine. Ainda na Alemanha, teve aulas com o professor
Washington Barella, primeiro oboista da Sudwest Rundfunk Deutches Orchester.
Atuou regularmente na Alemanha como primeiro oboe em diversas orquestras
como a Rias Jugend Orchestra Berlin e a Junge Deutsche Phillarmonie, alem da
Barock Orchester Berlin, tendo sido convidado a atuar, em abril do ano 2000,
como solista, na sala de musica de camara da Phillarmonie.
De volta ao Brasil, reincorporou-se as orquestras, onde tocava antes de sua
viagem, criou a Camerata Santa Tereza, e e o maestro da ACADEMIA PETROBRAS
SINFONICA.
ROTEIRO
Regencia - Carlos Prazeres, Atelisa de Salles, Priscila Loureiro
Concerto de abertura - Dia 7 de julho, sexta-feira, 19horas
Local - Auditorio Armando Prazeres - Rua Marques de Abrantes 55 - Flamengo.
(Inst. Metodista Bennett)
Telefones 2551.2836 e 2551 5508
Censura Livre - Lotacao - 500 lugares - Entrada franca
Coordenacao - Atelisa e Salles
Direcao Artistica - Carlos Prazeres
Saiba mais no site www.petrobrasinfonica.com.br/projetos sociais
Assessoria de Imprensa - Cida Fernandes - 21. 25273432 - 3435.3432 -
97638684
********************************************
********************************************
8 - FESTIVAL: FEMUSICA 2006 - Festival Internacional de Musica de
Inverno (20-29/Jul - Campos dos Goytacazes, RJ, BRASIL)
********************************************
De: Renato Kimachi [mailto:renato_kimachi em yahoo.com.br]
Enviada em: sabado, 1 de julho de 2006 12:49
Assunto: Femusica 2006
Femusica 2006
Festival Internacional de Musica de Inverno
Campos dos Goytacazes-RJ
www.centrocultura.com.br
1 - Do Periodo:
O FEMUSICA 2006 (Festival de Musica de Inverno em Campos) tera inicio na
quinta -feira, dia 20 de Julho de 2006 e se encerrara no sabado, dia 29 de
Julho de 2006, com o concerto de encerramento das Orquestras Sinfonicas do
Festival.
2 - Das Inscricoes:
2.1 - As inscricoes estarao abertas a partir do dia 15 de Maio de 2006, para
estudantes de musica brasileiros, estrangeiros ou naturalizados, e poderao
ser efetuadas atraves da pagina do festival, disponivel na internet, ou por
correspondencia tradicional, com a ficha de inscricao devidamente preenchida
e anexados os seguintes documentos : comprovante de deposito (copia) ou
cheque nominal; curriculo de atividades artisticas na area do curso
solicitado; autorizacao dos pais ou responsavel legal, no caso de menor; e
copia da cedula de indentidade.
2.2 - O numero de vagas e limitado, obedecendo a ordem de chegada das
inscricoes e/ou avaliacao dos curriculos.
2.3 - O aluno menor de idade devera estar devidamente autorizado por seus
pais e/ou responsaveis legais a efetuar sua inscricao, bem como, participar
dos cursos, anexando autorizacao na ficha de inscricao.
3 - Dos Cursos/Professores e horarios:
3.1 - Os horarios definidos para as aulas, serao rigorosamente respeitados,
podendo serem verificados na pagina do Femusica.
3.2 - Nenhuma mudanca de professor podera ser feita sem previa comunicacao a
secretaria do festival.
3.3 - Oficina de Regencia Orquestral:
Repertorio da oficina
R.Wagner - Preludio da opera "Os Mestres Cantores de Nuremberg"
M.P.Mussorgsky - Quadros de uma exposicao
C.Guerra-Peixe - Tributo a Portinari
Observacoes:
Atraves do primeiro contato com o professor, a turma sera dividida duas
categorias: alunos ouvintes e atuantes.
* Aos alunos ouvintes estara permitida a participacao na aula atraves da
observacao e , em momentos oportunos e a criterio do professor, a
manifestacao com observacoes e perguntas.
* Aos alunos atuantes estara permitida a participacao na aula atraves da
atuacao pratica em classe. Atraves de criterios estabelecidos pelo professor
da classe, alunos serao selecionados para atuarem frente a Orquestra
Academica do Festival em ensaios distribuidos no decorrer da semana, havendo
a possibilidade de atuarem em concerto de encerramento na conducao de
movimentos do "Quadros de uma Exposicao".
* Para selecao de alunos atuantes e ouvintes serao requeridos dos
candidatos:Analise formal do Preludio de "Os Mestres Cantores de Nuremberg"
e regencia (com co-repeticao) dos movimentos de "Quadros de uma Exposicao".
4 - Das atividades/ Inicio e termino:
4.1 - Os alunos inscritos deverao se apresentar na sede do Centro Cultura
Musical de Campos no dia 20/07, no periodo das 8h as 18h .
4.2 - O aluno que nao comparecer e nao justificar sua ausencia ate o dia
22/07/2006 as 9h , perdera o direito a vaga.
4.3 - Nao serao fornecidas ESTANTES para aulas individuais, master-classes e
ensaios.
5 - Informacoes Gerais:
5.1 - Roupas: Todos os alunos deverao estar preparados com roupas proprias
(preto e branco) para concertos e apresentacoes das quais, no decorrer do
curso, estarao sendo escalados a participarem. Para concerto de
encerramento, com a Orquestra Sinfonica Academica do FEMUSICA, os homens
deverao estar vestidos de terno completo(preto) e as mulheres de roupa
social(preta).
5.2 - Frequencia:
a) Os participantes terao que frequentar um minimo de 85% das atividades,
nas quais estiverem inscritos, para obterem direito ao certificado. Os
concertos tambem estao inclusos na carga horaria.
b) Cada aluno podera frequentar quantos cursos desejar (exceto os que
optarem por regencia), desde que seja constatada a nao coincidencia de
horarios e prejuizo as atividades previstas pela coordenacao do evento. Para
cada curso extra o aluno devera pagar uma taxa de R$ 20,00. Os alunos
deverao preencher uma ficha para cada curso. Podera ser feita copia da ficha
de inscricao.
c)A presenca nos concertos, palestras, etc, contarao como carga horaria do
curso.
5.3 - Material: A direcao do festival nao se responsabiliza por materiais,
instrumentos e outros de propriedade dos alunos.
5.4 - Outros:
a) Sera fornecida, no momento da chegada, uma lista de restaurantes e hoteis
que darao desconto aos participantes do Festival, mediante o cracha de
identificacao;
b) Havera conducao para os alunos da sede do CCMC ate o local dos concertos
noturnos e retorno;
c) Durante todo o curso, estara disponivel uma secretaria para tratar de
reservas de passagens; fornecer informacoes gerais e prestar quaisquer
auxilios em casos de urgencia medica;
d) Na recepcao, o aluno, alem de receber as boas-vindas, recebera uma pasta
contendo um informativo geral do festival;
e) Os casos omissos serao examinados pela direcao do Festival.
www.centrocultura.com.br
********************************************
********************************************
9 - LANCAMENTO : LIVRO BRASIL MUSICAL. Ed. : Zelia Chueke. Aut. :
Rogerio Budasz, Zelia Chueke, Cristina Gerling, Rodolfo Coelho de Souza,
Beatriz Ilari, Mauricio Dottori, Isaac Chueke e Daniele Pistone (18/Jul,
15:30hs - ABM, Rio de Janeiro, RJ)
********************************************
De: Zelia Chueke [mailto:zchuekepiano em hotmail.com]
Enviada em: segunda-feira, 3 de julho de 2006 12:35
Assunto: Convite lancamento na Academia Brasileira de Musica
Brasil Musical
Lancamento do livro Brasil Musical
Terca-feira, 18 de julho de 2006, das 15:30h as 16:30h.
Academia Brasileira de Musica
http://www.abmusica.org.br/bemvin.htm
Rua da Lapa 120, 12o. andar - Rio de Janeiro
Entrada Franca
Textos apresentados no Coloquio Brasil Musical, versao brasileira do
Colloque Bresil Musical, realizado em Paris em outubro de 2005 na Sorbonne.
Constituiu-se no unico evento academico divulgando a musica brasileira
durante as comemoracoes do Ano Brasil na Franca.
Edicao: Zelia Chueke
Autores: Rogerio Budasz, Zelia Chueke, Cristina Gerling, Rodolfo Coelho de
Souza, Beatriz Ilari, Mauricio Dottori, Isaac Chueke e Daniele Pistone.
15:30 acolhida e apresentacao do projeto
15:45 mini-recital das pianistas Zelia Chueke e Cristina Gerling
16:15 conversa com os autores presentes e sessao de autografos
16:30 conclusao do evento
Programa:
Ves (1999) - Paulo Costa Lima
Reverence, para mao esquerda (2001) - Mario Ficarelli (primeira audicao
carioca)
Zelia Chueke, piano
Sonatina n. 1 (1928) - Mozart Camargo Guarnieri (1907-1993)
Molengamente
Ponteado e bem dengoso
Bem depressa
Terra Selvagem (1971) - Bruno Kiefer (1926-1987)
Cristina Gerling, piano
********************************************
********************************************
10 - CURSO: CURSO DE SONIDO Y SINTESIS. Prof. Julio Descrivan (12-17/Jul
- USB, Sartenejas, VENEZUELA)
********************************************
De: [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de Maestria en
Musica/USB
Enviada em: terca-feira, 4 de julho de 2006 16:01
Assunto: [compvenz] 1 cupo para "Sonido y Sintesis"
CREATIVE MUSIC TECHNOLOGY
DEPARTMENT OF MUSIC AND PERFORMING ARTS
ANGLIA RUSKIN UNIVERSITY
Preparado por Julio d'Escrivan
Pathway Leader
CREATIVE MUSIC TECHNOLOGY
DEPARTMENT OF MUSIC AND PERFORMING ARTS
ANGLIA RUSKIN UNIVERSITY
Cambridge
Febrero 2006
Sonido y Sintesis
Tutor: Dr. Julio d'Escrivan: j.d'escrivan em anglia.ac.uk
00-44-1223 363271 ext 2978
Contenido del Curso de Sonido y sintesis
El curso de Sonido y Sintesis esta disenado para extender el conocimiento
del estudiante de tecnologia musical, introduciendole a las posibilidades
creativas que permite la sintesis por computadora. All usar software de
programacion de audio, el estudiante aprende a aplicar conceptos basicos de
acustica en situaciones de creacion musical. Esta actividad se inscribe
dentro del contexto mas global de lo que ha sido la historia de la sintesis
en el quehacer de la musica electronica. En este curso, el estudiante
desarrollara tecnicas que le permitiran disenar sonido a partir de ondas
basicas. Es un objetivo importante, tambien, proveer al estudiante de uma
vision critica de la naturaleza del sonido 'musical' en oposicion a lo que
podria denominarse 'ruido'. Durante el curso se pone enfasis en el analisis
auditivo Del objeto sonoro y de las posibles metodologias que pueden hacer
factible su recreacion..
2. Objetivos a lograr
Al terminar este curso el estudiante podra:
1. Demostrar un nivel de entendimiento de ideas basicas de acustica y
tecnologia
musical;
2. Demostrar un conocimiento basico de de los principios de la sintesis de
sonido.
3. Manipular de forma competente y creativa un ambiente de programacion que
permite crear sonido con el uso de la computadora.
4. Apreciar y discutir de manera informada, una variedad de topicos
musicales y de conceptos que se derivan del uso de la tecnologia en la
creacion de musica.
5. Aplicar de forma competente y creativa su entendimiento de los principios
mencionados a su propia labor creativa.
3. Plan de Clases
4. Textos recomendados
Roads, C. The Computer Music Tutorial (The MIT Press, 2000)
Roads, C. Microsound (The MIT Press, 2004)
Russ, Martin. Sound synthesis and sampling/2004.
Clase Tema Actividad ppal. Actividad del estudiante
1 Introduccion al Sonido y la Sintesis
Familiarizarse com Supercollider
2 Ondas Basicas Ugens y osciladores Ejercicios supervisados Del Cuaderno 1
3 Envolventes y Ruido Creacion de envolventes y utilizacion de ruido basico
(blanco, rosa, marron y gris)
Ejercicios supervisados Del Cuaderno 2
4 Osciladores de baja frecuencia y recursividad (nesting)
Uso de los osciladores de baja frecuencia para modular frecuencia y
amplitud.
Ejercicios supervisados del Cuaderno 3
5 Sintesis Aditiva I Arreglos I, como definirlos y como usarlos en sintesis
aditiva
Ejercicios supervisados del Cuaderno 4
6 Sintesis Aditiva II
Arreglos II
Ejercicios supervisados del Cuaderno 5
7 Sintesis Subtractiva Ugens de filtros
Ejercicios supervisados Del Cuaderno 6
8 Frecuencia Modulada (FM)
Creacion de sonidos a partir de la modulacion de frecuencia o de fase.
Parciales.
Ejercicios supervisados del Cuaderno 7
9 Amplitud Modulada (AM)
Funciones recursivas que modifican la amplitud
Ejercicios supervisados del Cuaderno 8
10 Creacion y Definicion de sintetizadores (SynthDefs)
Como crear y almacenar sintetizadores en el servidor de supercollider
Ejercicios supervisados del Cuaderno 9
11 Uso de efectos. Como se emulan efectos basicos como el delay, chorus,
flange y
reverberacion em supercollider.
Ejercicios supervisados del Cuaderno 10
12 La interfase grafica del usuario (GUI)
Como crear ventanas, botones y controles.
Ejercicios supervisados del Cuaderno 11
Miranda, Eduardo Reck
Computer sound design: synthesis techniques and programming/2002
Mathews Max V.
Current directions in computer music research/1989
Dodge, Charles
Computer music: synthesis, composition, and performance/1985
5. Recursos de Internet recomendados
www.audiosynth.com/
swiki.hfbk-hamburg.de:8888/MusicTechnology/6
elists.resynthesize.com/sc-users
www.dewdrop-world.net/sc3/index.php
www.psi-o.net/pseudonym
cooper.wesleyan.edu/~david/SC3/
www.mutantsounds.com/content/view/22/31/"
www.newscores.com/scforum/
http://swiki.hfbk-hamburg.de:8888/MusicTechnology/755
********************************************
********************************************
11 - CONCURSO: 2o. Concurso Internacional de Piano Ciudad de Panama
(20-27/Ago - Cidade do Panama, PANAMA)
********************************************
De: Jaime Ingram [mailto:jaimeingram em cwpanama.net]
Enviada em: quarta-feira, 5 de julho de 2006 13:56
Assunto: RE: [FWD cdmc] - 23/2006 -
El II Concurso Internacional de Piano, Ciudad de Panama, se realizara del 20
al 27 de agosto proximo, con la participacion de 15 candidatos, de diversas
nacionalidades, que han superado exitosamente la Prueba de Seleccion,
procedentes de: Alemania, Brasil, Chile, China, Corea, Cuba, Espana,
Francia, Italia y Japon.
Entre los miembros del jurado internacional esta el conocido pianista
brasileno, Miguel Proenca.
Se invita a todos los interesados visitar la pagina web del Concurso:
www.concursopanama.com
Jaime Ingram
********************************************
********************************************
12 - CONCERTO: ARTHUR KAMPELA, Premiere de "Antropofagia" para guitarra
eletrica e 16 musicos (20/Jul - Stuttgart, ALEMANHA)
********************************************
Assunto: Oi mannis, PLEASE POST!! 2 eventos Kampela pro CDMC. Obrigado!
De: "Arthur/Kim Kampela" <arthurkampela em earthlink.net>
Data: Sab, Julho 1, 2006 12:09 am
Arthur Kampela tera a premiere de sua obra "Antropofagia" para guitarra
eletrica e 16 musicos. no ISCM (World Music Days) 2006. Acontecera no dia 20
de Julho de 2006 em Stuttgart sendo a peca interpretada pelo KAMMERENSEMBLE
NEUE MUSIK BERLIN A estreia acontecera no Theaterhaus em Stuttgart. abaixo
vao links e informacoes pertinentes. Diga-se de passagem que no mesmo
concerto Chico Mello apresentara sua obra "entre arvores" . Somos a unica
participacao brasileira no ISCM 2006
20.07.2006 20.00 Uhr, Theaterhaus Stuttgart
Titus Engel, Musikalische LeitungHerman Wallen, Bariton
Wieck Hijmans, E-Gitarre
Cosima Gerhardt, Violoncello
Programm
Arthur Kampela "Antropofagia"
Chico Mello"entre arvores"
Shi-Rui ZhuSongs of Souls in 4 instrumental scenes
Veja os seguintes links para mais informacoes:
http://www.kammerensemble.de/
http://www.iscm.nl/wnmd2006.php
http://www.wnmf2006.de/index.php?PageID=13&p=1&p=2
www.kampela.com
********************************************
********************************************
13 - CONCERTOS: Quarteto de Brasilia. Obras de Osvaldo Lacerda e Carlos
Gomes (11-14/Jul - Joinville, Jaragua do Sul, Florianopolis e Sao Francisco
do Sul, SC, BRASIL)
********************************************
De: cohen [mailto:cohen em terra.com.br]
Enviada em: quinta-feira, 6 de julho de 2006 00:30
Assunto: Re:[FWD cdmc] - 23/2006 -
O Quarteto de Brasilia inicia sua turne nacional, com o patrocinio da
Eletrobras, pela regiao sul do Brasil. Os concertos terao lugar em Curitiba
dia 02 de julho no Teatro da UnicenP, 04 de Julho no Teatro Municipal de
Itajai-SC, dia 05 no Teatro Carlos Gomes em Blumenau-SC, dia 11 em Joinville
no Teatro Juarez Machado, dia 12 em Jaragua do Sul no teatro da SCAR, dia 13
no Teatro do Centro Integrado de Cultura (CIC) em Florianopolis e no dia 14
de julho em Sao Francisco do Sul. O Quarteto comemora em 2006 20 anos de
existencia.
Programa da Turne no Sul
W.A.Mozart Quartetos no.19 K.465 e no.14 K.387
Osvaldo Lacerda Quarteto no. 1
Carlos Gomes Sonata para Cordas
Classicos da MPB
Quarteto de Brasilia
Ludmila Vinecka (Violino)
Claudio Cohen (Violino)
Glesse Collet (Viola)
Guerra Vicente (Violoncelo)
********************************************
********************************************
14 - CONCERTO: Orquestra de Camara da Cidade de Curitiba. Obras de
OSVALDO LACERDA , CAMARGO GUARNIERI, FRANCISCO MIGNONE, ANTONIO GUERREIRO e
VILLA-LOBOS (07 e 08/Jul - Curitiba, PR, BRASIL)
********************************************
De: br [mailto:comunidadecultural em fcc.curitiba.pr.gov.br]
Enviada em: sexta-feira, 7 de julho de 2006 09:40
Assunto: Orquestra de Camara da Cidade
Orquestra de Camara da Cidade
Um repertorio brasileiro e o que a Orquestra de Camara da Cidade de Curitiba
apresenta neste final de semana sob a direcao de Roberto Hubner, com a
participacao do saxofonista Rodrigo Capistrano e convidados. O concerto com
obras de Leopoldo Miguez (1850-1902), Osvaldo Lacerda (1927), Camargo
Guarnieri (1907-1993), Francisco Mignone (1897-1986), Antonio Guerreiro
(1949) e Heitor Villa-Lobos (1887-1959) sera nesta sexta-feira (07), as 20
horas, na Fundacao Mokiti Okada e no sabado (08), as 18h30 no Teatro
Londrina do Memorial de Curitiba.
Instrumentos da musica popular brasileira como o pandeiro e o saxofone serao
utilizados para mostrar que a musica erudita e a MPB podem trabalhar juntas.
"Ja estamos pensando em um programa com a Orquestra A Base de Cordas do
Conservatorio de MPB para o proximo ano", diz o coordenador da Orquestra de
Camara, Francisco de Freitas. "A obra de Villa-Lobos apresentada neste
concerto e dedicada a Marcel Mule, grande solista frances. O repertorio e de
um Villa-Lobos que o publico brasileiro ainda nao esta acostumado". Para
apresentar esse concerto a Orquestra de Camara tem como convidados os
musicos Vina Lacerda (pandeiro), Antonio Carlos de Oliveria (violino),
Edvaldo Chiquini, Josimar Marcos da Silva e Ramon Salomao (trompa) e Rodrigo
Capistrano (saxofone).
O solista convidado, Rodrigo Machado Capistrano, e diplomado em saxofone e
Pos-graduado em Musica de Camara pela Escola de Musica e Belas Artes do
Parana. Desenvolveu estudos em ciclo de aperfeicoamento no "Conservatoire
National de Musique de Mulhouse" (Franca), onde obteve o "Premier Prix de
Saxophone" (1o. Premio em Saxofone) e uma "Medaille d'or de Musique de
Chambre" (Medalha de Ouro em Musica de Camara). Tambem conquistou o "Diplome
de Concert - Prix Superieur Interregional" (concurso realizado entre
conservatorios da Franca e de Luxemburgo).
Como camerista e integrante do quarteto de saxofones franco-brasileiro
"Quatuor Paris-Rio" que realizou turne pela Franca, Suica, Alemanha e
Brasil.
SERVICO:
Orquestra de Camara de Curitiba
Direcao Musical: Roberto Hubner
Solista convidado: Rodrigo Capistrano (saxofone)
Data: sexta-feira (07/07), as 20 horas, na Fundacao Mokiti Okada - Rua
Manoel Eufrazio, 1400 - centro civico.
Entrada franca
Reapresentacao no sabado (08/07), as 18h30, no Memorial de Curitiba - Rua do
Rosario, s/n - Largo da Ordem. Ingressos: R$10 e R$5 mais um quilo de
alimento nao-perecivel.
Visite nosso site www.fundacaoculturaldecuritiba.com.br
********************************************
********************************************
15 - 1st. INTERNATIONAL CONGRESS OF MUSIC & CONTEMPORARY TECHNOLOGIES
(12-16/Dez/2006 - Sevilha, ESPANHA)
********************************************
De: com [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de
[Izarra/A]
Enviada em: terca-feira, 4 de julho de 2006 09:48
Assunto: [compvenz] I CONGRESO INTERNACIONAL DE MUSICA Y TECNOLOGIAS
CONTEMPORANEAS
I CONGRESO INTERNACIONAL DE MUSICA Y TECNOLOGIAS CONTEMPORANEAS
Sevilla, 12 - 16 de diciembre de 2006
I INTERNATIONAL CONGRESS OF MUSIC & CONTEMPORARY TECHNOLOGIES
Seville, 12 - 16 December 2006
Ayuntamiento de Sevilla - Icas - Biacs
Universidad de Sevilla - Fundacion Autor / SGAE
http://www.congreso-musica.org
PRESENCE AND IMPLICATION IN CURRENT SOCIETY
STATE OF THE QUESTION
* The preservation and restoration of the heritage
* Pedagogy and analysis
* Available technologies
* Interpretation and perception
* Sociology and aesthetics
Music technology experienced one of its most notable changes in the 20th
century: from the era of mechanics and sound production through the human
body it evolved, firstly, towards electronic sound production and later,
towards digital technology. The first stage consisted of the invention of
musical instruments using the possibilities of electricity and electronics
(Theremin, Ondes Martenot, etc.) and later the use of recording and
reproduction methods for manipulating sound and organising it in music that
at first dispensed with the instrumental presence. From this came the
different currents that marked musical thought as from the late 1940s:
Concrete Music, Electronic Music, Tape Music, Electro-acoustic music,
Live-Electronics, Acousmatic Music, Digital Music …
The second stage began with the possibility of producing digital sound, a
process that began in the late 1950s. This stage made what had previously
been a laborious task of controlling the performance of frequently unstable
machines that much easier, resulting in a more precise control of the
parameters that make up the sound and the possibility of repeating the
actions. We had to wait for the technology to develop so as to be able to
work on the sound in all its complexity before digital technology would
replace its predecessor, analogue technology: in the early years we had to
wait several days to obtain the sound, but gradually we went from Recorded
time (as it was called) to Real time, in which the composer's aims were
immediately audible.
In the long journey from the early sounds until today, the computer has gone
from being a tool difficult to control and confined to high technology
centres to being an everyday, accessible tool, adapted to all spheres of
human activity and easy to use. This evolution, however, brought significant
and in some cases irreversible changes in the way we think and work in our
society: pedagogy, the role of music in science, music in practice,
composition and aesthetic concepts have all experienced changes and
developments that enable us to identify a clear turning point. Perhaps the
most significant fact is that, for the people who want to, it has never been
easier to be able to invent, create and compose music, or simply have fun
with sound.
This first congress provides us with not only a general introduction to the
technological problems in the musical field, but also the analysis and
understanding of the impact that technology has had and is having on music
today in all spheres of musical activity. It will also give us the chance to
get a glimpse of future perspectives and of the possible challenges and
needs that we will have to face.
The preservation and restoration of the heritage
Music is a richness that is valued with time, so it is therefore necessary
to preserve it, study it and restore it. Digital technologies have
simplified and aided in the preservation, cataloguing and restoration of
this accumulated richness. However, we run the great risk of losing the
greater part of this rich heritage that took shape as from the 1940s. What
are these risks? The selfsame fragility of the means by which the
information is preserved, the unstable technologies, the lack of
preservation centres and the difficulty in defining what should be
preserved. Which should be preserved: the recorded concert or the computer
program that enabled the final result to be obtained?
Music forms a unique patrimonial, cultural and educational asset: we need to
ensure that it becomes part of the process of the development of society.
There are initiatives, foreshadowing of centres and above all musicological
questioning, about which it is necessary to both preserve and define the
essential setting so that a modern piece of work, created with innovative
technology, can be preserved and restored in the future. Herein lie two
problems: how to ensure the long-term preservation of almost 30,000 works
composed since the 1940s and how, within the framework of constantly
evolving technology, to integrate the problem of preservation of the works
as a full part of its production process. The ideal situation would be for
the piece of work, on being created, to produce its own memory, preserve the
traces of its evolution, enabling at the same time the preservation of the
development of the composer's ideas.
What is at stake today is our memory, our comprehension of the past to be
able to project ourselves into the future, as well as the possibility of
being able to interpret and rediscover essential works for understanding our
current musical world. Alongside effective actions to ensure what already
exists is saved, it is necessary to undertake actions that enable
preservation to be something simple that does not interfere with the
creative process but which ensures perpetuity.
Pedagogy and analysis
Analysing and transmitting is the key to understanding and the development
of pleasure in music. Analysis enables the study of the ideas and structures
of music; pedagogy is the essential element for sharing and developing
auditory skills and the discovery of new musical worlds. Both aspects are
traditionally structured around the representative element of the music, the
score. Musical practice, within the school setting, is mainly instrumental
and directed at developing the relationship between writing and playing. The
use of new technologies in music has had two major consequences: the growing
separation between the music that is heard and the music that is studied, as
well as the fact that musical practice using digital technology has spread
greatly among young people, something that, given that practice is
rudimentarily linked to creation, requires training related to their
concerns.
This has resulted in a big question: how can we analyse and teach when the
score disappears or when it is replaced by other means of representation?
The roots of musicological analysis are eroded, given that the parameters of
the object to be analysed are not the same and the existing terminology and
concepts cannot be easily applied. Inversely, the object of teaching is much
wider and teachers need new educational concepts and analytical tools.
Music teaching becomes more interesting for educationalists and students
when technology is integrated into it. The contemporariness of the object
studied renews the position of music teaching, which has to seek out complex
compromises between music teaching of the past and the modernity of musical
practice. A similar situation arises in the field of musical analysis, in
which the study of contemporary works and tendencies enables a greater
understanding of the musical phenomenon and greater integration into musical
practice.
Available technologies
Technology is the central axis of the massive evolution of music over the
last sixty years. Technology in itself does not cause evolution, but rather
musicians include it in their work and propose new uses and functions. In
many cases, during the first decades, it was the musicians who proposed new
technological developments and it was they themselves who produced them
(synthesizers, computer programs, dedicated processors). Technological
innovation took place in the 1980s, when digital technology began to be
within everyone's reach, in the centre of thought and communication of
musical creation, so much so that often the technological device was better
presented and described than the actual piece of music.
Today the situation has changed dramatically: the technology is increasingly
more complex and its development increasingly in the hands of specialised
companies, with large technical set-ups and with commercial ends in sight.
Nevertheless, the fact that there is an extremely diversified technology and
that its use is relatively simple and within the reach of all has resulted
in evolution in the aesthetic field and in the richness of the work
produced; the technology is no longer more an element for judging the work
but rather an essential element in its existence.
It is in this context that the evolution of technology must be critically
thought about. There are very few centres specialising in contemporary music
today that are capable of conceiving, developing and above all
commercialising specific products in the long term. This results in a
growing separation between those that develop (big companies) and those that
use (composers and players). What are the expectations of the creators in
the technological setting? Do they agree with the current situation
regarding technologies or are they looking for new tools? If this is the
case, how can the conception of new systems be brought closer to the
innovative ambitions of the creators?
Interpretation and perception
The phenomenon of playing music is historically based on the fact that on
the one hand there is the creator and on the other, the listener, or the
audience. This relationship has changed between them over the last decades:
the emergence of music created with new technology caused a situation
whereby the composer directed the work straight at the listener, without
intermediaries, in "acousmatic" concerts at which the listener attended a
show for the hearing. In more recent cases, it is the listener, often called
the "user", who will play a decision-making role in the way in which a
musical phenomenon passes. This is what is known as interactivity. In other
words, the method and the scope with which a user relates to a computer
system.
However, this did not mean that the player disappeared: on the contrary, new
forms of playing were developed as traditional writing became more complex,
as a result of the integration of technological devices by the players
themselves, and due to the appearance of players of machines, devices,
computers and decks, in which the player function is doubled up with that of
the creator.
Alongside the evolution in the ways that the creator transmits to the
listener and the evolution in the concept of the concert, changes are taking
place in the way we perceptively face the musical phenomenon. The universe
of possible sounds for music has continually expanded to the point where any
sound is potentially useable in music. Our way of listening and playing
sound phenomena has changed dramatically: by listening to music, our mind is
open to all kinds of situations, sound or visual, in which there are no
distinctions between musical sounds and noises, but acceptance, rejection,
attraction or repulsion.
Philosophy has taken part in this situation: starting from the first ideas
regarding phenomenology, many thinkers, musicians and philosophers have
become interested in the problem of what we hear, how we hear and how the
brain goes from perception to sense, particularly in situations of expansion
and enrichment of possibilities in sound. Despite this, hearing continues to
be a mystery, particularly in matters relating to the creation of the sense
and the generation of pleasure.
Sociology and aesthetics
Technology, and the changes that have been introduced through it in music
production and transmission, has influenced the behaviour of listeners and
particularly the role of music in society. Music is not only omnipresent,
but it is consumed in any situation and circumstance and, above all,
consumed at all times. Sound reproduction systems surround us in all the
situations of daily life: to this is added the immediate legal or illegal
access to any type of music, which poses the question about a change in the
function of music and in its role in the development of society.
Access to music is made through players and recordings: attendance at
concerts, although still important, is very small compared to the
circulation of recorded music. Perhaps this evolution can be interpreted,
the beginning of which would be situated with the appearance of music
created with recorders, as a development towards the listener's autonomy and
their capacity to create the world of sound they yearn and dream for.
Nevertheless, while autonomy is developing, the need for and presence of
referents, myths, trends and other forms of identification and
differentiation are becoming increasingly more significant. The listener
often knows the technology required and is capable of controlling it, but
needs more the figure that goes beyond the technology, that which expresses
desires, longings and hopes.
As well as looking into the phenomena of popular music, we will be
discussing a multitude of musical theories, aesthetic currents and attitudes
towards sound and music. Despite the massive fragmentation of musical
currents, are there common denominators, identifiable tendencies, currents
of philosophical thought or aesthetic communities? The answers will be
contradictory, will depend on the cultural context, the social context or
simply the understanding that the listener has of Music as an infinite
universe.
********************************************
********************************************
16 - CONCERTO: North Norfolk Music Festival. Clara Rodriguez (piano,
VENEZUELA). Obras de Carlos Nunez, Antonio Lauro, Miguel Astor e Frederico
Ruiz (VENEZUELA); Lecuona (CUBA); Villa-Lobos (BRASIL); Piazzola e Ginastera
(ARGENTINA). (07/Jul, 20:00hs - St Mary's Church, South Creake, REINO UNIDO)
********************************************
De: [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de Clara
Rodriguez
Enviada em: quinta-feira, 6 de julho de 2006 11:26
Assunto: [compvenz] Venezolanos en la campina inglesa
FRIDAY July 7th
20.00 St Mary's Church - Clara Rodriguez, piano
In the first half of this evening's programme Clara Rodriquez will explore
Latin American works for solo piano. Clara is famous for imbuing this
captivating music with a particular sense of poetry and sparkling dynamism.
In the second half the Doric String Quartet, who's outstanding recital last
year prompted immediate re-engagement, will provide us with the rare
opportunity of hearing William Walton's string quartet, and with Adrian
Thompson and Simon Lepper, Vaughn Williams' much-loved song cycle 'On
Wenlock Edge'.
Retrato solemnisimo de Aldemaro Romero Juan Carlos Nunez (Venezuela)
Seis por derecho Antonio Lauro (Venezuela)
A la antigua Ernesto Lecuona (Cuba)
La comparsa
Malaguena
Chau Paris Astor Piazzola (Argentina)
Dansa do indio branco Heitor Villa-Lobos (Brazil)
Adriana Miguel Astor (Venezuela)
Danza del gaucho matrero Alberto Ginastera(Argentina)
Zumba que zumba Frederico Ruiz (Venezuela)
********************************************
********************************************
17 - CALL FOR AUDIO: VAGUE TERRAIN 04 - THE BODY DIGITAL (Set/2006 -
CANADA)
********************************************
From: killbot em records.digitalux.com
Date: July 5, 2006 5:24:05 PM GMT-04:00
Subject: Re: [vaguediscuss] call for audio artists/musicians - vague
terrain 04: the body digital
CALL FOR AUDIO ARTISTS/MUSICIANS
VAGUE TERRAIN 04: THE BODY DIGITAL
Context:
In his 1964 text "Understanding Media" media theorist & future-caster
Marshall McLuhan stated that electricity was an extension of the nervous
system. The next issue of Vague Terrain is dedicated to continuing this
line of thought and exploring both the interface and friction between
contemporary digital technology and the body. Vague Terrain 04: the body
digital will serve as a catalog of new conceptions of the intersection
between the physical and digital realms, one in which the body is read as a
dataset, instrument, and host to new economies and discourses.
The Call:
Vagueterrain.net's fourth issue will be entitled "the body digital" and we
are currently seeking the work of audio artists and musicians whose work
deals with the interface between the body and contemporary technology to
showcase in this issue. Vague Terrain 04: the body digital will be published
online in early September 2006 so work would need to be submitted by mid
August. Vague Terrain audio submissions generally consist of 30-40 minutes
of original sound/music which is distributed through our publication via an
author sanctioned creative commons license.
Please see http://www.vagueterrain.net for more information about the scope
of our publication.
If you are interested in contacting us regarding submitting audio work to
this issue, or have any questions please contact us ONLY via
submit em vagueterrain.net regarding your submission.
Greg Smith & Neil Wiernik
editors/curators
http://www.vagueterrain.net
********************************************
********************************************
18 - CONCERTO: Sinfonica de la Juventud Venezolana Simon Bolivar e
Maestro Carlos Pietro (MEXICO). Obras de Rugeles, Jimenez, Marturet, Teruel
(VENEZUELA); Gutierrez-Heras (MEXICO). (08/Jul - Caracas, VENEZUELA)
********************************************
De: [mailto:compositoresvenezolanos em gruposyahoo.com] Em nome de Alfredo
Rugeles
Enviada em: segunda-feira, 3 de julho de 2006 09:42
Assunto: [compvenz] Invitacion al Estreno de la obra ganadora del Concurso
de la USB
Estreno mundial de la obra "Un sombrero lleno de sonidos" del compositor
venezolano Ricardo Teruel, ganador del Concurso de Composicion Musical
"Aniversario de la Universidad Simon Bolivar".
Asimismo, el programa incluye al reconocido Maestro mexicano Carlos Prieto,
quien estrenara en Venezuela la "Fantasia Concertante" (2005) para cello y
orquesta del compositor mexicano Joaquin Gutierrez-Heras; "Sol por
Occidente" del Maestro Eduardo Marturet; "Balada" del compositor Raul
Jimenez, ambos jurados del mencionado concurso y mi obra "Camino entre lo
sutil e inerrante".
La cita es este sabado, 8 de Julio de 2006, a las 8:00 p.m. en la Sala Jose
Felix Ribas del Teatro Teresa Carreno, con la Sinfonica de la Juventud
Venezolana Simon Bolivar bajo nuestra direccion musical.
Alfredo Rugeles
Sabado, 8 de Julio de 2006
Hora: 8:00 p.m.
Sala Jose Felix Ribas, Teatro Teresa Carreno
Sinfonica de la Juventud Venezolana Simon Bolivar
Solista Invitado: Maestro Carlos Prieto (Mexico), Violoncello
Director: Alfredo Rugeles
Programa
"Camino entre lo sutil e inerrante"
(1979-Rev. 2002) - Alfredo Rugeles (Venezuela)
para Orquesta Sinfonica
"Balada" (2002, Rev. 2004) - Raul Jimenez (Venezuela)
para Orquesta Sinfonica
"Fantasia concertante" (2005) para cello y orquesta - Joaquin
Gutierrez-Heras (Mexico)
(Estreno en Venezuela)
Solista: Maestro Carlos Prieto (Mexico), Violoncello
Intermedio
"Sol por occidente" (1982) - Eduardo Marturet (Venezuela)
para Orquesta Sinfonica
"Un sombrero lleno de sonidos" (2006) - Ricardo Teruel (Venezuela)
para Orquesta Sinfonica y sonidos grabados disparados desde un reproductor
de discos compactos.
Obra ganadora del Concurso de Composicion Musical "Aniversario de la
Universidad Simon Bolivar" (Estreno Mundial)
********************************************
********************************************
19 - 14TH BIENNIAL CONFERENCE: IASPM - The International Association for
the Study of Popular Music (25-29/Jun/2007 - Cidade do Mexico, MEXICO)
********************************************
From: Geoff Stahl <geoff.stahl em VUW.AC.NZ>
Sent by: Subscribers of iaspm list <IASPMLIST em liverpool.ac.uk>
Date: 06/29/2006 03:09AM
Subject: CFP - IASPM's 14th Biennial Conference: Que viva la musica
popular!, Mexico City 2007
THE INTERNATIONAL ASSOCIATION FOR THE STUDY OF POPULAR MUSIC (IASPM) IS
PLEASED TO ANNOUNCE ITS 14TH BIENNIAL CONFERENCE:
Universidad Iberoamericana
Mexico City, Mexico
June 25-29, 2007
Popular music remains at the heart of everyday life in many different ways.
Its ability to organise, reassure, provoke, contain or anaesthetise attests
to its influence within social life. The organisers of the 14th biennial
IASPM in Mexico City invite papers that provide theoretically grounded
accounts of popular music's role as a soundtrack to individual, collective,
local, national and international experience. This includes examination of
the significant changes in popular music consumption, with, for example, the
emergence of the mobile phone and TV talent show franchises as key links
between contemporary youth audiences and performers. Equally, in the age of
the 'mash-up', innovation in digital technologies (for example, Pro Tools
and Acid Pro software) continues to challenge prior modes of production and
viability for producers in an era of industry/company integration. While
these are important issues for debate, this conference also emphasises
effect and affectivity: the astonishing ways in which popular music moves us
to different forms of expression and feeling.
The location of this conference is timely, given the rapid change in
cultural trade flows and agreements between nations, where popular music
plays a major role in debates about cultural sovereignty, and the feverish
rhetoric surrounding the 'cultural'/'creative' industries. At the same time,
popular music continues to be appropriated for specific political ends,
representing particular ideologies, and in some cases, whole nations.
As has always been the case, conference organisers welcome papers that shed
light on specific, local experiences and debates, along with wider issues of
transnational importance. In keeping with the increasingly broad scope of
popular music studies, the conference welcomes papers based on any
disciplinary approach, including musicology, semiotics,
philosophical/cognitive studies, anthropology, gender and cultural studies,
sociology, literary criticism, etc.
Abstracts should be no longer than 250 words, and should include the
following:
Paper Title
Surname, First Name
Institution
Email Address
Intended Stream
When attaching abstracts, please send as both an .rtf and .doc. Please use
your surname as the file name, eg: smith.rtf, jones.doc.
The conference organizers would ask that you provide three to five keywords
in order to help facilitate the organization of the schedule.
Abstracts should be sent to the following address: pop2007 em iaspm.net, and
should be received no later than November 15, 2006. Presenters will be
notified by February 1, regarding acceptance.
The streams for this year's conference as follows:
1. Songs of desire
Convenor: Franco Fabbri <fabbri em dico.unimi.it>
Feelings, emotions, passion are at the same time the subject of many popular
songs (content), the factors that influence how subjects are articulated
(expression), the shared competence within a genre or across genres (code).
Affect in popular music is coded/decoded by the mind, interpreted by the
body, predominantly mediated by the voice. This stream welcomes papers based
on any disciplinary approach (musicology, semiotics, philosophical/cognitive
studies, anthropology, gender and cultural studies, sociology, literary
criticism, etc.) approaching song (individual songs, genres, idiolects) as
the meeting point of thought and feelings, the body, the human voice, for
any purpose and project.
2. Performance
Convenor: Shane Homan <Shane.Homan em newcastle.edu.au>
Musical performance remains one of the central rituals and pleasures of
popular music. This stream invites consideration of understandings of
performance within a range of cultures and contexts, including the
re-evaluation of 'classic' performances on the stage or screen that continue
to inform contemporary practices and histories; debates about repetition and
improvisation; or performance within multimedia environments, and the
implications for the presentation and reception of the musical text in
relation to particular discourses of authenticity. We welcome papers on the
cover, tribute, or interpretation that investigates performing the
'original', or contributions to debates about stage virtuosity, including
understandings of musical skills, training and creativity. Discussions can
extend to how famous musicians 'perform' their celebrity roles in a variety
of industry and media contexts; or how audiences 'perform' subcultures or
fandom roles; or take on the role of 'performer' themselves.
3. Technology & industry
Convenor: Martha Tupinamba de Ulhoa <mulhoa1 em gmail.com>
The use of the phonogram, the disc, the tape, and now the computer archive
has changed enormously the way people produce and listen to music. Music
technology has even blurred the distinction between the spheres of music
production and consumption, as well as the notions of authorship and
performance. Also the music industry has had to adapt to new ways of
consumption that bypass its control, as the debate on copyright and the
release of "historical" performances transfers is showing. This stream
welcomes papers dealing with the technological impact on popular music
practices, including studio, live and even private popular music production
and consumption questions from cultural, aesthetic, ideological, economic,
sociological, historical, legal or musicological perspectives.
4. Nation, Region, City
Convenor: Michael Drewett <M.Drewett em ru.ac.za>
This stream is concerned with popular music meanings which are specifically
located within the context of space and place, whether on the local,
national, global or glocal level, including the role of music in urban and
suburban structures, in the construction of national identities and policies
and in place-related practices of domination and resistance, such as
post-colonial struggle. Papers that place particular emphasis upon the
spatial dynamics of popular music are welcomed.
5. Popular and Unpopular Musics
Convenor: Geoff Stahl <geoff.stahl em vuw.ac.nz>
The notion of 'the popular' can be cast in multiple ways. The meaning and
uses to which 'the popular' is put means different things with regard to
taste, musicians, the industry, governments, etc. The notion of what
constitutes popularity and what that popularity may mean is fraught and
contested in a number of fields, whereby the production, distribution and
consumption of music can become the locus of many different kinds of
struggles. This stream is designed to take up many of these issues,
considering the different resonances of 'the popular' (and by inference its
so-called opposite, 'the unpopular').
Dr. Geoff Stahl
Lecturer, Media Studies
School of English, Film, Theatre and Media Studies
Victoria University of Wellington
P.O. Box 600
Wellington
Aotearoa New Zealand
+64 4 463 5233 (ext. 7472)
The Blog: http://www.biglittleg.com/blog
The Pics: http://www.flickr.com/photos/guymauve/
AIM: guymauve68
-------------- Pr?xima Parte ----------
Um anexo n?o-texto foi limpo...
Nome: winmail.dat
Tipo: application/ms-tnef
Tamanho: 53740 bytes
Descriç?o: n?o dispon?vel
URL: <http://www.listas.unicamp.br/pipermail/anppom-l/attachments/20060707/85f4fbf1/attachment.bin>
Mais detalhes sobre a lista de discussão Anppom-L