DOCSLIB.ORG

MARIO SARMIENTO, Percusión (Colombia)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MARIO SARMIENTO, Percusión (Colombia) RECORRIDOS POR LA MÚSICA DE CÁMARA MARIO SARMIENTO, percusión (Colombia) Domingo 21 de febrero de 2016 • 11:00 a.m. Bogotá, Sala de Conciertos Biblioteca Luis Ángel Arango TOME NOTA Los conciertos iniciarán exactamente a la hora indicada en los avisos de prensa y en el programa de mano. Llegar con media hora de antelación le permitirá ingresar al concierto con tranquilidad y disfrutarlo en su totalidad. Si al momento de llegar al concierto éste ya ha iniciado, el personal del auditorio le indicará el momento adecuado para ingresar a la sala de acuerdo con las recomendaciones dadas por los artistas que están en escena. Agradecemos se abstenga de consumir comidas y bebidas, o fumar durante el concierto, con el fin de garantizar un ambiente adecuado tanto para el público como para los artistas. Durante el transcurso del concierto por favor mantenga apagados sus equipos electrónicos, incluyendo teléfonos celulares, buscapersonas y alarmas de reloj. Esto ayuda a crear un ambiente propicio para disfrutar la música. Por respeto a los derechos de autor de los compositores e intérpretes, no está permitido realizar grabaciones de audio o video ni tomar fotografías durante el concierto. El Banco de la República y la música: no solo conciertos Desde sus comienzos, el Banco de la República ha entendido y asumido su papel como banco central como algo que va más allá de una labor principalmente económica. Uno de los programas en los que el banco ha trabajado de manera casi constante y con un importante impacto en la vida de muchas personas ha sido en la formación de economistas, artistas plásticos y músicos. El Banco de la República tiene un programa de estudios en el exterior. El programa de Jóvenes Talentos en Música inició en 1986. Cada dos años el programa brinda un importante apoyo para que un músico colombiano pueda adelantar estudios de maestría en el exterior Desde entonces, 16 músicos colombianos, incluyendo al percusionista Mario Sarmiento, se han beneficiado de este programa. Es imposible negar el impacto que la inversión en los estudios de Sarmiento ha tenido en el medio musical colombiano. Desde su regreso al país tras estudiar en Francia, ha mantenido una intensa actividad artística y docente que lo ha llevado a explorar un variado repertorio para percusión, incluyendo las obras que escucharemos en el concierto de hoy, a formar a varios de los percusionistas más activos del circuito musical colombiano y a actuar como asesor de diferentes entidades culturales incluyendo ser director del Conservatorio de la Universidad Nacional, coordinador musical de la Orquesta Filarmónica de Bogotá y asesor pedagógico del Festival de Música de Cartagena. 1 La trayectoria artística, docente y como administrador de Mario Sarmiento son perfectos ejemplos del valor de la inversión pública que el Banco de la República hace en un artista. No solo él ha regresado a Colombia a entregar su experiencia y conocimiento a la comunidad artística. Algunos otros han encontrado sus caminos fuera del país pero, sin importar, todos son colombianos cuyo trabajo simboliza el deseo de Colombia de ser un país cada vez mejor y un país con el firme propós ito de hacer las cosas con pasión, seriedad y profesionalismo. A todos los beneficiarios de este programa extendemos nuestro agradecimie nto por ser parte de la historia del Banco de la República, ser parte de los 50 años de la Sala de Conciertos de la Biblioteca Luis Ángel Arango y ser parte de una historia construida con pasión, entrega, seriedad y compromiso. Beneficiarios del programa Jóvenes Talentos en Música del Banco de la República 1986 - Camilo Rojas Restrepo; instrumentista New England Conservatory, Estados Unidos 1987 - Luis Pulido Hurtado, compositor y flautista Estudio con los profesores Mauro Cardi, Franco Donatoni, Ana María Polcaro y María Teresa Palermo en Italia 1988 - José Rodrigo Jiménez Cortés, tenor Universidad de Colonia, Alemania 1988 - Wilma Rueda Reyes, soprano Escuela Superior de Música de Friburgo, Alemania 1990 - Lucía Peralta López, violín/viola International Menuhin Academy, Suiza 1991 - Luis Guillermo Córdoba Agudelo, piano Meadows School of the Arts, Estados Unidos 1992 - Carolina Sarmiento León, piano Johns Hopkins University, Estados Unidos 1996 - Hugo Ernesto Varón Melo, percusión 2 Conservatorio de Oberlin, Estados Unidos 1997 - Mario Alberto Sarmiento Rodríguez, percusión Conservatorio Maurice Ravel, Francia 1999 - Johanna Gutiérrez Páez, viola Johns Hopkins University, Estados Unidos 2002 - María Lorena Correa Posada, violín Uchilishe del Conservatorio Tchaikovsky, Rusia 2006 - Carolina Noguera Palau, composición Birmingham Conservatoire - University of Central England, Reino Unido 2008 - Daniel Andrés Forero Pulido, guitarra Manhattan School of Music, Estados Unidos 2010 - Andrés Martínez Pardo, clavecín Conservatorium van Amsterdam, Holanda 2012 - Viviana Marcela Salcedo Agudelo, oboe Royal Academy of Music, Reino Unido 2014 – Ana María Ruge Ramírez, soprano Mannes School of Music, Estados Unidos La propuesta artística de Mario Sarmiento abarca desde la comisión e interpretación de repertorio para percusión de compositores colombianos y latinoamericanos hasta la búsqueda de nuevas posibilidades expresivas, como lo hace en su proyecto Dumtak- Dúo, que combina percusión y danza contemporánea. Sus últimas presentaciones incluyen conciertos, recitales y la participación como percusionista invitado y tallerista en eventos nacionales e internacionales, entre ellos el Mozart Festspielkonzert en Alemania; el Wieczory w Arsenale Festiwal, en Wroclaw, y el Cross Drumming Percussion Festival, en Kolbuszowa (Polonia); el VIII Festival Internacional de Música Clásica Contemporánea de Lima (Perú); el II, IV y V Festivales Internacionales de Música de Cartagena; el III Festival Internacional de Música de Medellín; el III Festival Internacional de Percusión Tamborimba, en Cali; el X Festival Internacional de la Imagen, en Manizales; el I Festival Internacional de Percusión “Percusión en Escena”, en Bogotá, y el III y IV Festivales Internacionales de Percusión, en Ibagué. 3 Durante su carrera ha sido merecedor de diversos premios y reconocimientos, entre los que se destacan el Grado de honor de la Facultad de Artes de la Universidad Nacional de Colombia, por su trayectoria académica; la beca Jóvenes Talentos, otorgada por el Banco de la República; el primer premio en el Primer Concurso Nacional de Percusión, en 1995; el primer premio en Percusión en los Concursos Centralizados de Percusión Tercer Ciclo, en París, 1998, y el primer premio en la categoría de música académica del Ciclo de conciertos del Instituto Distrital de Cultura y Turismo, en 2003. Mario Sarmiento es percusionista con grado summa cum laude del Conservatorio de Música de la Universidad Nacional de Colombia y tiene estudios de posgrado en Francia con Didier Verité y con el reconocido percusionista Sylvio Gualda. Ha sido director del Conservatorio de Música de la Universidad Nacional de Colombia y subdirector sinfónico de la Orquesta Filarmónica de Bogotá. Actualmente es profesor asociado del Conservatorio de Música de la Universidad Nacional de Colombia, dirige la cátedra de percusión del Conservatorio del Tolima, es timbalista y jefe de percusión de la Orquesta Sinfónica de Bogotá FOSBO, y es percusionista en la Sociedad de Música de Cámara de Bogotá y en el grupo de percusión Sinergia Ensamble. PROGRAMA Sarta, para vibráfono (2009) PEDRO SARMIENTO (n. 1977) Domino III (1990) PHILIPPE BOIVIN (n. 1954) Para timbales Clitoriana No. 2 (2011) GUSTAVO PARRA (n. 1963) Para marimba Estreno mundial 4 INTERMEDIO Solo per quattro timpani (1998) JOHANN HASLER (n. 1972) Graffito (1988) MARTA PTASZYŃSKA (n. 1943) Para marimba Side by Side (1987) MITCHIO KITAZUME (n. 1948) CONCIERTO No. 5 NOTAS AL PROGRAMA Por Ellie Anne Duque Pedro Alejandro Sarmiento R. De este talentoso y original compositor nacido en Cali (Colombia) en 1977, nos permitimos transcribir las anotaciones que sobre su trayectoria y obra aparecen en su página web1: Estudió con el maestro Blas E. Atehortúa en la Universidad Nacional de Colombia, donde obtuvo su título profesional en el 2000. Desde entonces se ha dedicado a la composición de música para banda y orquesta sinfónica, orquesta de cuerdas, grupos de cámara e instrumentos solistas. Ha participado en distintos eventos de música en Argentina, Brasil, Colombia, España, Estados Unidos y Venezuela. Sus obras han sido interpretadas igualmente en Alemania, Argentina, Austria, Brasil, Colombia, España, Estados Unidos y Venezuela. Actualmente es representante de Colombia en la Conferencia Iberoamericana de Compositores, Directores, Arreglistas e Instrumentistas de Banda Sinfónica y Ensambles de Viento, y desde 2007 es miembro de la WASBE. «En una primera etapa, mi trabajo musical se centró en la exploración de diversas técnicas de composición ligadas a la exploración de la armonía por cuartas y su relación con el lenguaje modal, manteniendo el uso de formas clásicas. Así mismo, hice exploración de la politonalidad y la polimodalidad en distintas obras. Posteriormente, amplié mi trabajo hacia la armonía por segundas, el trabajo serial 5 no dodecafónico y un enriquecimiento de la textura musical, dando prioridad a la experimentación tímbrica y al estudio de los modos rítmicos y su complejidad estructural. Actualmente trabajo en la exploración del sonido como medio de expresión absoluto, más allá de convenciones tradicionales, dándoles importancia a las técnicas extendidas de los instrumentos musicales, para lograr una
Load more

Recommended publications
  • The Om Composer's Book
    THE OM COMPOSER’S BOOK Volume 3 Edited by Jean Bresson, Carlos Agon, Gérard Assayag Preface by Roger Dannenberg Collection Musique/Sciences Musique/Sciences Editorial Board Carlos Agon, UMR STMS Ircam/CNRS/UPMC, Paris Gérard Assayag, UMR STMS Ircam/CNRS/UPMC, Paris Marc Chemillier, Ecole des Hautes Etudes en Sciences Sociales, Paris Ian Cross, University of Cambridge Philippe Depalle, McGill University, Montréal Xavier Hascher, University of Strasbourg Alain Poirier, Conservatoire National Supérieur de Musique et de Danse, Paris Miller Puckette, University of California, San Diego Hugues Vinet, UMR STMS Ircam/CNRS/UPMC, Paris Communication Marine Nicodeau Editions Claire Marquet Cover design BelleVille Volume editor Jean Bresson Editorial coordination and support Aaron Einbond Tous droits de traduction, d’adaptation et de reproduction par tous procédés réservés pour tous pays. Le code de la propriété intellectuelle du 1er juillet 1992 n’autorise, aux termes de l’article L. 122-5, 2e et 3e a), d’une part, « que les copies ou reproductions strictement réservées à l’usage du copiste et non destinées à une utilisation collective » et, d’autre part, « que les analyses et les courtes citations dans un but d’exemple et d’illustration ». « Toute représentation ou reproduction intégrale ou partielle, faite sans le consentement de l’auteur ou ayant cause, est illicite » (article L.122-4). Cette représentation ou reproduction par quelque procédé que ce soit constituerait donc une contrefa¸onsanctionnée par les articles L. 335-2 et suivants du Code
    [Show full text]
  • Symmetry and Proportion: How These Issues Guide, Inform and Add Coherence to Musical Composition
    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Ribeiro, H. (2011) Symmetry and proportion: how these issues guide, inform and add coherence to musical composition. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] Symmetry and Proportion: How These Issues Guide, Inform and Add Coherence to Musical Composition by Hugo Ribeiro Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2011 Abstract The central subject of this thesis is the application of the concepts of symmetry and proportion in music and how these can be used to generate original compositions. Information about the musical application regarding concepts of symmetry and proportion both in the twentieth-century and earlier is provided. The first section also offers additional information about the construction of symmetrical harmony and its common usage; here too, principles of intervallic proportion are explained based on the compositional thinking of English composer Christopher Bochmann.
    [Show full text]
  • A Folk Music for the Double Bass Håkon Thelin
    A Folk Music for the Double Bass Håkon Thelin During the past years, I have come closer to discovering my own musical voice, as it speaks through the double bass. Though my musical training might have followed a line of rather conventional musical practice, it was continually ensued by an evolving thought regarding the contextualization of this instrument-specific language of music, which I have come to call a folk music for the double bass – an approach that strongly relates to the aspirations of the great Italian double bass player and composer Stefano Scodanibbio who says that he wants “to allow the contrabass to sing with its own voice”.1 During the 1980s Scodanibbio discovered this voice, that comes from the instrument itself, as being based on the possibilities the instrument offers. The main discovery that furthered the establishment and refining of such a language was the expansion of flageolet techniques, the most evident of these being the interchanging of ordinary tones and flageolets. This conception of a music that is in a sense rooted in the instruments very own qualities and characteristics, a folk music for the double bass, so to speak, has been the main goal in creating my own music, and my aspiration in publishing the sounding results of my works for double bass on my CD Light.2 To create a composed music, bound by intricate fixed rhythms, melodic shapes and forms, but yet to evince the sounding impressions of improvisation. My music thus follows a tradition that is based upon the exploration of those sounds that can be particularly well expressed through the double bass.
    [Show full text]
  • City Research Online
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online Einbond, A. (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In: J. Bresson, C. Agon & G. Assayag (Eds.), The OM Composer's Book. (pp. 155-171). France: Editions Delatour/Ircam-Centre Pompidou. ISBN 978-2-7521-0283-6 City Research Online Original citation: Einbond, A. (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In: J. Bresson, C. Agon & G. Assayag (Eds.), The OM Composer's Book. (pp. 155-171). France: Editions Delatour/Ircam-Centre Pompidou. ISBN 978-2- 7521-0283-6 Permanent City Research Online URL: http://openaccess.city.ac.uk/15422/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected].
    [Show full text]
  • Calendar 2010 H.Indd 1 2010-09-23 15:54:25 2010–2011
    2010-2011 ecpnm 2010–2011 ECPNM c/o Music Center the Netherlands Rokin 111, 1012 KN Amsterdam The Netherlands T. +31.20.344.60.60 F. +31.20.673.35.88 [email protected] www.ecpnm.com 2010 cover and backcover 2 print ready.indd 1 2010-09-23 16:21:39 ECPNM The European Conference of Promoters of New Music calendar 2010 h.indd 1 2010-09-23 15:54:25 2010–2011 In 2010 ecpnm participated in many different European activities. At the end of March the renewed Ars Nova group of ecpnm and efa held a symposium during the Ars Musica festival in Brussels. More than 25 festivals from all over Europe talked about closer cooperation in the future. ecpnm was also involved in the big meeting of the “Culture Sector Platform: Creation – Industry” of the e.u. Commission of Education & Culture end of March in Barcelona. The Spanish e.u. presidency had invited a large number of European networks and organizations to this two-day symposium to present and exchange best-practices in the cultural fi eld. In April ecpnm took part in the General Assembly of efa in Merano; in the framework of the e.u. theme “Open-the-door.eu” more than 160 representatives from over 65 festivals were informed about the 4th ecpnm European Competition for Live Electronic Music Projects which will involve chamber orchestra next year. The interest in new as well as traditional music festivals was very positive! After a meeting with e.u. – commissioner Mrs. Androulla Vassiliou in April, the Platform members met again in June to work on the details of a Green Book with concrete actions and recommendations.
    [Show full text]
  • Panayiotis Kokoras, Phd Acoustic and Electronic Composition | [email protected]
    Panayiotis Kokoras, PhD Acoustic and Electronic Composition www.panayiotiskokoras.com | [email protected] “The work has clear motives, strong development, and the dramatic structure, although not immediately obvious, is masterful.” Ian Whalley, Computer Music Journal, winter 2009, Vol.33, No.4. “… this is a bold piece with striking, unforgettable sounds.” Amy Waldron, Chorus America (Feb 12th, 2012) “This is one of the best integrations of acoustic & electronic sounds that I’ve heard in a long time…” Simon Cummings, blog 5-against-4 (Jun 15, 2011) 66 Prizes and distinctions: First Prize (22), Second Prize (6), Third Prize (1), Honorable Mention (12), Finalist (25), grants (7) and scholarships (9) judged by over ninety jury members from around the world with competition ratio as high as one among seventy entries. Kazmierz Serocki (Poland), Franco Evangelisti (Italy), Prix Destellos (Argentina), Prix Ars Electronica (Austria), Métamorphoses (Belgium), Giga-Hertz Music Award (Germany), Bourges (France), Gaudeamus (The Netherlands) Takemitsu Composition Award (Japan), Noroit Prize (France). 34 commissions: Fromm Music Foundation (Harvard University), ZKM (Germany), Musiques-Recherches (Belgium), Siemens Stiftung (Germany), MATA (New York), Ircam (France), Athens State Orchestra (Greece), IMEB (France) & others. 209 international call for scores selections: ISCM World Music Days 2014, 2010, 2009, 2007, 2006, 2005, ICMC International computer Music Conference 2012, 2006, 2005, 2004, 2003, 2002, Ai-Maako Festival International de Música
    [Show full text]
  • Einbond2016a-Smaller.Pdf
    City Research Online City, University of London Institutional Repository Citation: Einbond, A. (2016). Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words. In: Bresson, J., Agon, C. and Assayag, G. (Eds.), The OM Composer's Book. (pp. 155-171). France: Editions Delatour/Ircam-Centre Pompidou. ISBN 978-2-7521-0283-6 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15422/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE OM COMPOSER’S BOOK Volume 3 Edited by Jean Bresson, Carlos Agon, Gérard Assayag Preface by Roger Dannenberg Collection Musique/Sciences Musique/Sciences Editorial Board Carlos Agon, UMR STMS Ircam/CNRS/UPMC, Paris Gérard Assayag, UMR STMS Ircam/CNRS/UPMC, Paris Marc Chemillier, Ecole des Hautes
    [Show full text]
  • Programme (PDF)
    du 21 septembre au 6 octobre 2001 musica Festival international des musiques d’aujourd’hui Strasbourg Le mot du président 5 Tableau-programme 6 Éditorial 8 Portraits 10 Peter Eötvös, guetteur de sons 12 Björn Gottstein, musicologue Musiques italiennes : des esprits libres 17 Ivanka Stoianova, août 2001 Entretien avec Thierry De Mey 23 Jean-Luc Plouvier, pianiste de l’ensemble Ictus Ingrid von Wantoch Rekowski : portrait choral 28 Antoine Gindt, août 2001 Marthe Lemelle 33 Programme détaillé des concerts 34 Biographies des compositeurs 214 Les partenaires de musica 248 L’équipe de musica 268 Index des compositeurs et des œuvres 270 Index des interprètes 272 Directeur de publication Jean-Dominique Marco Responsable de rédaction Virpi Nurmi Secrétariat de rédaction Cécile Reichenbach Conception graphique Marie-Hélène Hérault Photogravure Pix’up Impression Imprimerie OTT Image musica 2001 Fred Pommerehn et Ingrid von Wantoch Rekowski © musica 2001 Les illustrations de ce livre sont de Marthe Lemelle Sacem Voir liste en p. 32 Lorsqu’en 1985 j’ai rejoint les Dernières Nouvelles d’Alsace à Strasbourg en tant que directeur commercial, l’un de mes premiers contacts a été avec Laurent Bayle, alors directeur de musica, qui venait me voir pour me proposer un partenariat. Je fus d’emblée séduit par la proposition tant la manifestation me paraissait de qualité et corres- pondre exactement aux besoins de modernité de la région. Son succès public et médiatique confirma la justesse de la démarche artistique tant au niveau régional qu’international. C’est dire le plaisir que j’ai aujourd’hui à en être le président, succédant ainsi à Jérôme Clément que je remercie pour la manière dont il a su soutenir le festival et favoriser son rayonnement interna- tional.
    [Show full text]
  • Analyser Les Processus De Création Musicale
    TRACKING THE CREATIVE PROCESS IN MUSIC ANALYSER LES PROCESSUS DE CRÉATION MUSICALE Paris, Thursday 8–Saturday 10 October 2015 IRCAM: Salle Stravinsky, Studio 3, Studio 5 Centre Pompidou: Petite Salle Université Paris-Sorbonne: Amphithéâtre Durkheim TRACKING THE CREATIVE IN MUSIC PROCESS MUSICALE CRÉATION LESDE PROCESSUS ANALYSER Conservatoire national supérieur de musique et de danse de Paris : Espace Maurice-Fleuret http://tcpm2015.ircam.fr Paris, 10 8–Saturday Thursday October 2015 The TCPM conference brings together research - TCPM 2015 is organised by ers interested in artistic creativity, and the study of processes of musical and sound creation of the past IRCAM: Institut de Recherche et de Coordination and present. Researchers working on this cluster of Acoustique/Musique (Paris), STMS labs (Ircam/CNRS/ problems from a wide variety of disciplines (history, UPMC), Analysis of musical practices research group music analysis, psychology, philosophy, cognitive sci- ence, sociology, ethnomusicology, anthropology, etc.) IReMus: Institut de Recherche en Musicologie (CNRS/ are invited to assess the different methodologies de- Paris-Sorbonne) veloped over the last thirty years in their respective areas from an interdisciplinary perspective. Each ap- CTEL: Centre Transdisciplinaire d’Épistémologie de proach contributes in its own way to the advancement la Littérature et des Arts vivants (Université Nice of our understanding of the procedures, techniques, Sophia Antipolis) knowledge and skills employed by musicians involved in creative projects. With the support of the Agence Nationale de la Recherche (3-year project: ‘Musical Gesture: Models Following the epistemological paradigm shifts that and Experiments’), Conservatoire national supérieur musicology underwent at the end of the last cen - de musique et de danse de Paris, DREST (Direction tury, the very notion of ‘creative process’ has been de la recherche, de l’enseignement supérieur et transformed.
    [Show full text]
  • A New World of Sounds Recent Advancements in Contemporary Double Bass Techniques
    A new world of sounds Recent advancements in contemporary double bass techniques Revised project description, October 2009 Programme for Research Fellowships in the Arts in collaboration with the Norwegian Academy of Music Håkon Thelin Oskar Braatens gate 4 0474 Oslo Norway Email: [email protected] Web: www.thelin.no 1 Theme and goals The theme of this project comprises analysis and development of novel techniques for the double bass. The objective of the project is twofold: 1. Investigate novel playing techniques for the double bass as found in the works Zab ou la passion selon st. Nectaire (1981, ca. 30 min.) by Philippe Boivin, and Luciano Berio: Sequenza XIVb – Versione per Contrabasso di Stefano Scodanibbio (2004, ca. 15 min.). Analyses of these techniques will be compared to related techniques, where such exists in other works. 2. Develop new techniques for the double bass. The playing techniques I want to investigate and develop are mainly based on harmonics (tones where the natural fundamental frequency and some of its overtones are suppressed by lightly touching the string), multiphonics (complex sounds based on overtones), and percussive techniques. It is in combination with unorthodox bowing- and pizzicato techniques that quite new sounds have emerged. Knowledge of these techniques is still not widely established, as they only exist in a few cutting-edge works, played by a few dedicated performers. Through musical and technical analysis I want to master playing techniques that are used in the work Zab ou la passion selon st. Nectaire, composed by Philippe Boivin in collaboration with the French double-bassist Jean-Pierre Robert.
    [Show full text]
  • Festival D'aix-En- Provence
    Festival d’Aix-en- Provence European Symposium on Culture and Education Fifth edition th 10 July 2013 Reciprocity, Cornerstone of Culture, Creation and Democracy Overview 1 The fifth edition of the European Symposium on Culture-Education, organised by the Festival d’Aix-en-Provence alongside RESEO (European Network for Opera and Dance Education) and AFO (French Orchestra Association), focused on the theme of Reciprocity, Cornerstone of Culture, Creation and Democracy. Here is an overview of how this topic came about. The Symposium opened with Bernard Foccroulle expressing his delight that the event would explore a relatively recent dimension of mediation. The work and exchanges that took place prior to the publication of the book entitled La Citoyenneté culturelle en actes, published by Editions Universitaires d’Avignon and presented at the opening of this fifth Symposium1, enabled this analysis to be undertaken. Although the early days of cultural mediation were characterised by a desire to transmit and clarify artistic and cultural services available, this work has gradually evolved towards increasingly participative artistic projects. The rhythm and intensity at the heart of this movement vary according to the cultural operators involved, who have, in turn, gradually measured to what extent these experiences drive them, both on an institutional and artistic level. The reasoning behind these projects has therefore shifted significantly; the forces exerted are now multi-directional and the resulting artistic, human, social and cultural
    [Show full text]
  • PASIC 2007 Program Printed by Johnson Press of America, Pontiac, Illinois
    pas president’s welcome ... 4 special thanks ... 6 exhibitors by name ... 8 exhibit hall map ... 9 exhibitors by category ... 12 exhibitor company descriptions ... 16 sponsors ... 32 area map and restaurant guide ... 36 convention center map ... 38 wednesday, october 31 schedule of events ... 40 thursday, november 1 schedule of events ... 42 friday, november 2 schedule of events ... 46 saturday, november 3 schedule of events ... 50 artists and clinicians bios ... 56 percussive arts society history ... 100 pasic 2007 advertisers ... 104 pas president’s welcome PERCUSSIVE ARTS SOCIETY BOARD OF DIRECTORS t is an honor gent work of the many volunteers on Ifor me, as the PASIC Logistics Team who make EXECUTIVE COMMITTEE your PAS each year’s PASIC a greater suc- President Gary Cook President, to cess. Please share your appreciation President-elect Steve Houghton welcome you with these individuals if you have the Vice President Lisa Rogers to Columbus, opportunity at PASIC 2007. Secretary John R. Beck Ohio and our Support of this vision is critical Treasurer Steve Beck Immediate Past President Rich Holly 32nd Percus- and the many percussion compa- Executive Director Michael Kenyon sive Arts nies and manufacturers who are Society Inter- PAS Sustaining Members dedicate DIRECTORS national Convention. PASIC 2007 is great amounts of time, energy, and Timothy K. Adams . Keith Aleo a celebration of 46 years of PAS and money investing in PAS and PASIC. Anders Åstrand . Michael Balter is the fifth time we have held our On behalf of the Board of Directors George Barrett . Michael Burritt annual convention in Columbus with and our entire membership I want to Ruth Cahn .
    [Show full text]