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Canto Difónico SELECCIÓN DE TEXTOS INDICE ARTISTAS Y PERFORMERS David Moss y su posibilidades de la voz 4 Ensambla Ritornelo 7 Meredith Monk: El arte en las fronteras 8 ¿Qué es la música? Un Viaje Maravilloso: Bobby McFerrin de Angel Vargas 13 Tribe of Sound 15 TÉCNICAS VOCALES CONTEMPORÁNEAS NO CONVENCIONALES Scat Singing (Texto en Inglés) 16 Louis Armstrong 16 Beatbox (Texto en inglés) 17 Beardyman (Texto en Inglés) 18 Rahzel 18 CANTOS TRADICIONALES TranQuang hai devant un spectre de chant diphonique (Texto en francés) 20 Dhrupad (Texto en Inglés) 23 The origin and Grammar of Dhrupad ((Texto en inglés) 23 Mapuche 27 “Escuchando la voz de los pueblos indígenas…” 29 Canto difónico: todas las voces en una 35 Música Tibetana: el sonido que llega del techo del mundo 37 Los cantantes de garganta de Tuva 41 La Cábala 45 Los tonos de la octava cósmica de Hans Cousto 48 Maria Sabina 50 POESÍA SONORA Ubuweb: Ethnopoetics-Section Curated by Jerome Rothenberg (Texto en Inglés) 64 Poesia Fonética (las avanguardias históricas) 65 La poesía experimental en America Latina de Clemente Padín 69 Poesía Sonora 72 Poetas Sonoros 72 ARTE RADIOFÓNICO Radio (Texto en Francés) 76 Radiotopia on site (Texto en Inglés) 76 Radia Futurista 77 Lear- Laboratorio Experimental de arte Radiofónico 79 Radio Arte Fluxus [extracto] 80 Arte Radiofónico: Bibliografía recomendada 83 1-ARTISTAS Y PERFORMERS DAVID MOSS Y SU MANIFIESTO DE LAS POSIBILI- DADES DE LA VOZ www.radioeducacion.edu.mx www.bienalderadio.com COMUNICADO DE PRENSA 6 / MAYO DE 2006 “Durante más de 100 mil años, la voz humana ha sido una de las primigenias fuentes de emoción, comuni- cación, información y trascendencia. Si conjuntamos estas formas de expresión resulta que el canto es una forma de actividad física compartida, que es creada y transmitida por todos nosotros”, señala este radioasta independiente, que como se recordará en la década de los ochentas tuvo una participación importante en la radio pública norteamericana. ¿Qué significará para las personas cantar, hablar, sentir y escuchar voces con el oído, la mente y el cuerpo en el siglo que apenas comienza? La voz encantadora pone en discusión estas ideas en un mini manifiesto de David Moss por las posibilidades de la voz. LA VOZ ENCANTADORA DAVID MOSS Radioasta, ALEMANIA Definición de encantar: 1) Estar sujeto a una influencia mágica; lanzar un hechizo, especialmente con la voz; embrujo. 2) Impartir un efecto o una cualidad mágica. 3) Gustar algo en gran medida, encanto, ser hechizado, fascinado, cautivo. La palabra inglesa enchant es uno de los mejores ejemplos de ese histórico poder antiguo de la voz humana. Encanto, encantamiento, cantar, canto... Durante más de 100 mil años, la voz humana ha sido una de las primigenias fuentes de emoción, comuni- cación, información y trascendencia. Si conjuntamos estas formas de expresión resulta que el canto es una forma de actividad física compartida, que es creada y transmitida por todos nosotros en cavernas, clubes, clanes, coros, conciertos, países e incluso en nuestros automóviles. Esta voz humana, estos músculos, esta voz cantante -modulada por la inteligencia, la memoria y las emo- ciones- han producido cantos, canciones, melodías, información, poder, placer, himnos y ha convocado a billones de personas a lo largo de la historia de la humanidad. Y durante un siglo, estas voces han sido difundidas por la radio. La radio, con sus transmisores, voces propagadas y receptores, era hermana de la asamblea, hermana de la producción en masa, una niña de genios excéntricos y control gubernamental. ¿Cómo puede sobrevivir y prosperar ahora, cómo puede dar voz al presente? Hoy, la tecnología, las políticas, la cultura, está cambiando a una velocidad supersónica, mucho más rápido que nuestras pequeñas y aisladas voces, de una manera mucho más omnipresente que la radio antigua. ¿Necesitamos voces humanas invisibles que vuelen a través de las ondas a determinados aparatos receptores en los próximos 100 años? ¿Cómo hablaremos a través de la radio? ¿Cómo cantaremos? ¿Para quién cantar- emos? ¿Cuáles voces se escucharán? ¿Qué significará para las personas cantar, hablar, sentir y escuchar voces con el oído, la mente y el cuerpo en el siglo que apenas comienza? La voz encantadora pone en discusión estas ideas en un mini manifiesto por las posibilidades de la voz. MIGUEL MOLINA ALARCÓN Facultad DE BELLAS Artes DE LA Universidad Politécnica DE VALENCIA, EspaÑA Nacido en Los Teatinos, Cuenca, en 1960, vive en Valencia desde 1979. Actualmente es catedrático de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia. Profesor de Escultura, Medios Audiovi- suales y Arte Sonoro en el Departamento de Escultura (UPV) desde 1986 a la actualidad. Ha sido Subdirector de Investigación en el Departamento de Escultura entre 1994 y 2004. Es Director del grupo de investigación I+D+I “Laboratorio de Creaciones Intermedia (LCI)” de la Universidad Politécnica de Valencia, abordando en su último proyecto de investigación la recuperación de obras inéditas del Arte Sonoro de la Vanguardia Histórica (1909-1945), siendo algunas de estas obras pioneras en el llamado arte radiofónico del ámbito español e hispanoamericano. Como artista ha participado en eventos nacionales e internacionales: Bienal de Artes de Brusque, Brasil; The Longing of the Electronic Media for Nature, Kas- sel, Alemania; 26e. Festival International de Musique Electroacoustique, Bourges, Francia; Art Camp ‘96, Fukui-Imadate, Japón; Equality is Differences. Artistic Activity and Compromise in Recent Valencian Art, Florencia, Italia; New Tendencies in Spanish Art, San Francisco, Estados Unidos, y Ciber@rt, Valencia-Te- nerife, España. EDUARDO LANGAGNE Director de la Fundación para las Letras Mexicanas, México. Poeta y traductor. Pertenece al Sistema Nacional de Creadores de Arte. Es licenciado en Lengua y Litera- tura Hispánicas por el CIDHEM y Profesor de Portugués por la UNAM, donde además estudió música, cine y culminó recientemente la maestría en Letras Latinoamericanas. Ha realizado letra y música de canciones, textos poéticos para música popular y de concierto, así como diversos guiones para radio, cine, video y es- cena, el más reciente: Sueños, para la música de Arturo Márquez. Ha creado poemas sonoros en el Laboratorio de Experimentación Artística Sonora de Radio Educación. Actualmente es locutor del programa Redes: Tierra Adentro, que transmite la misma emisora. En 1980 fue el primer poeta mexicano en obtener el Premio Casa de las Américas. En 1990 Obtuvo el Premio de Poesía Gilberto Owen y en 1994 mereció el Premio de Poesía Aguascalientes, el más importante del país. Su obra está incluida en alrededor de treinta antologías publicadas en México, Brasil, Colombia, España, Estados Unidos, Holanda y Québec. Sus libros de poesía más recientes son: Decíamos ayer..., una selección de su obra publicada entre 1980 y 2000, en edición del CONACULTA; Décima Ocasión, y El álbum blanco. Tam- bién ha publicado literatura para niños y jóvenes. JOSÉ ANTONIO SARMIENTO DIRECTOR DE RAS, Revista DE Arte Sonoro, EspaÑA Es profesor titular de la Facultad de Bellas Artes de Cuenca, España; director del Centro de Creación Ex- perimental de la Universidad de Castilla La Mancha; coeditor de las revistas Sin Título y RAS; editor de la página web Arte sonoro; director de Dínamo Radio, de creación experimental; miembro del equipo de redac- ción de Mediateletipos, sistema de noticias de arte sonoro, videoarte, cine experimental y arte electrónico; miembro fundador de la página artesonoro.org, portal de acceso a los proyectos de artistas que trabajan en la promoción y divulgación del fenómeno sonoro en el ámbito hispano. Su labor artística está centrada en las acciones, los libros objeto y el arte sonoro. De sus trabajos se men- cionan: Le plaisir du texte, Se vende un artista, Sangre de artista, Esto no es una galería de arte y El ojo del silencio. Ha participado en exposiciones colectivas de arte experimental. Es autor de los libros Las palabras en libertad, La poesía fonética, Críticas a un concierto zaj, Marinetti: la radio futurista y Kurt Schwitters: la poesía fonética. LA VOZ DE CAGE JOSÉ ANTONIO SARMIENTO DIRECTOR DE RAS, Revista DE Arte Sonoro, EspaÑA Siguiendo la estela de los futuristas, John Cage busca la escenificación de la escritura al considerar la pal- abra como un cuerpo sonoro que se convierte en objeto de interpretación. Cuando Daniel Charles le preguntó si su espectáculo sin título, celebrado en el Black Mountain College (1952), suponía el abandono de la música por el teatro, su respuesta fue: “Mi música ya era teatro. Y teatro sólo es otra palabra para definir la vida”. A Cage le interesa la poesía porque le permite introducir elementos musicales en el mundo de la palabra. Este proceso le conduce a una nueva escritura que, al igual que su música, se fundamenta en operaciones de azar que rompen la sintaxis logrando que la escritura, los espacios en blanco, las imperfecciones del papel... se transformen en instrumentos sonoros. La Voz de Cage es un recorrido por su obra, en el que se intenta mostrar las diferentes propuestas de cre- ación que dan un nuevo sentido musical a la voz a través de diversos soportes: conferencias, mesósticos, acciones, recitales y obras radiofónicas. Como muestra, sirvan como ejemplo sus piezas: Lecture on Nothing, Solo for Voice, Song Books, Mureau, Sixty-two Mesostics re Mere Cunnigham, Empty Words y Roaratorio, obras en las que construye una nueva poesía que sale de la página y que aglutina el canto, el color, la luz, el sonido, el dibujo y la acción en su representación. Cage no sólo continúa la línea establecida por los futuristas, como decía al principio. A ellos se suman Joyce, Satie, Duchamp y Thoreau, auténticos creadores que le sirven de referencia en su planteamiento de una música/literatura regida por la indeterminación y abierta al silencio/ruido. ENSAMBLE RITORNELO http://www.eldespertador.info/ritornelo/ensamble2.htm El Ensamble Ritornelo es un colectivo de experimentación en arte sonoro y espacio acústico.
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