EDSON ZAMPRONHA – PDF

The latest Tweets from Edson Zampronha (@EdsonZampronha). Composer and performer. His works offer a fresh air in the scene of experimental music and. Edson Zampronha is on Facebook. Join Facebook to connect with Edson Zampronha and others you may know. Facebook gives people the power to share and. View the profiles of people named Edson Zampronha. Join Facebook to connect with Edson Zampronha and others you may know. Facebook gives people the.

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Thus, the old and the wdson understandings overlap, creating tension that becomes the axis of the composition. His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds. It uses a sound that, like the marble in a sculpture, is carved by the musician day after day to take its place in the history of sound. It is possible to find a very close correlation between the flexibility procedure used in this work zamprohha the concept of chance used in the last sculptures of Jean Arp.

By using this site, you agree to the Terms of Use and Privacy Policy. This book is a demonstration of the zamproonha importance of writing in the process of musical composition. When chance is guided by a compositional and performing purpose and is incorporated organically into the work, its controlled use becomes a rich tool in the search of very particular qualities that are reflected both in the sound of the work itself and in specific aspects of its organization.

Edson Zampronha – IMDb

Some of his works are:. Edson Zampronha Edson Zampronha works with contemporary music, musical semiotics and musical technology. Two piano works by Edson Zampronha – Analysis and performance suggestions.

Eventually, a new fusion is sought. At the beginning of the work, for example, the performer sings inside the instrument as if he or she were singing a Gregorian chant. Three CDs are fully dedicated to his works:.

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ABOUT Edson

Its first component is therefore a typical sustained note, while its second is a sustained note with melodic line features. Doctor of Musical Arts at the University of Georgia.

He has developed two post-doctorate researches on music and meaning, one at the University of Helsinki Finlandinand another one at the University of Valladolid Spainin Concerning his harmonic language, Zampronha uses non-traditional but intelligible chords comprising many notes from 6 to 18, or even more.

However, the first meaning never completely disappears. In this case, it interchanges notes E and D.

A number of similar rapid twisting movements control both the marble sounds and the melodic tuba shapes. Tension is primarily created by the close alternation of two adjacent polar pitches. His works include pieces for orchestra, symphonic band, electroacoustic music, chamber music, sound installations, interactive works and music for films. Another aspect of this re-interpretation can be found in the use of sound materials and their references.

This overall control of pitches is very important to the musical intelligibility of the work.

Con ellas se crean tensiones y resoluciones. One of the keywords in the music of Zampronha is “re-interpretation” or re-significationunderstood as the act of understanding in a edaon way what had been previously listened to. The indirect references to western music constructions are related to the musical discourse. En este caso, alternando entre las notas Mi y Re. Ciertas notas son polarizadas en la obra. This solo is almost a slow edaon profound recitative. The central axis of this melting is a pitch produced by the tuba.

As edsn he starts an international agenda. At the beginning of the work, the tuba and the marble sounds are melted. Three morphological elements are used in the work: Tres recursos son utilizados para conducir el discurso musical y crear el dramatismo de la obra: Afterwards, the tuba and marble sounds are zapronha, but they continue in parallel with one another, revealing their conflict.

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Starting with E, the next polar pitches are D, C and Bb. Three means are used to zamprronha the musical discourse and create the work’s drama: In he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder. During this period his concept of re-interpretation applied to musical form was first used.

Edson Zampronha born June 2, is a Brazilian composer dedicated to contemporary experimental music. Resolution is the result of a polar note, which, resembling an appoggiaturais resolved in the next note. Its third component is a sustained note with repetition features, giving way to repeated eedson in the same pitch. These elements drive the work’s division into three sections. Some pitches are polarized in the work and are ordered to create a downward scale segment.

Besides, specific sequences of these chords may generate a new-functionality producing direccionalities inside the work. Edson Zampronha was born in Rio de Janeiro into a family of musicians. This freedom is related to the nature of the musical material to be generated. Different aspects of his compositions reflect these innovations, as the musical notation he uses and the relationship between instruments and electroacoustics [3] [7] for instance.

Through detailed work, each single curve of the sound movement, each tiny detail of its curvature, was placed at a different point on the space to extract all its energy and musicality.

A sound material can make references to a specific musical context or a specific historical period even a very recent period without being a quotation. When inserted in a different context the musical work is this new contexta polyphony between references appears: This page was last edited on 16 Augustat However, the central axis of this fusion now becomes a spectrum produced by the marble.