Program of Sonidero 1.1

극단노뜰

극단노뜰의 후용공연예술센터 아티스트-인-레지던스 거주예술가 솔로공연

소니대로 (Sonidero) 1.1 이반 페레르 오라주코(and Iván Ferrer-Orozco 멕시코)_ 작곡가, 사운드 아티스트 2011.7.1.(금) 19:30 원주중앙청소년문화의집

[공연 프로그램] 

Estudio I (2011) 6’15’’ 다니엘 마르띠네스-보로고스(Daniel Martínez-

 Sirenas (2005) 7’

Burgos_스페인)

에릭 페레스 세구라(Eric Pérez-

페르난두 페소아(페르난두 페소아(Fernando

Segura_멕시코)Feminine voice

António Nogueira Pessoa, 1888-1935)의 텍스트를 기본으로 작업



Music for processed toy piano #4 (2010)

electronic media 



Don Filemón y cia (2007) 10'

_스페인)Eletroacoustic 

Frog in a machine(1988) 10’ 최인숙(Insook Choi _한국)

마누엘 라모스(Manuel Ramos _멕시코)_ 30-30 의 굮용 쇠고리(카라비나)에서 파생된

전자회로에 의한 음향화의 구성 

어쿠스틱

corite-mapaihnu (irradiación 0.2) (2007-2008) 12’40’’ 페데리코 발데스(Federico Valdez _아르헨티나) 두 개의 채널의 어쿠스틱 사운드

Catacombes (2007) 10’’ 장 프란스와 블루인(Jean-Francois Blouin_캐나다)

의성어에서 영감을 받은 어쿠스틱한 작업 

Bars and Stripes (2007) 11’ 알베르토 베르날(Alberto Bernal

6’50’’ 로헬리오 소사(Rogelio Sosa_멕시코)

modified with



First garden (2011) 7’ 이반 페레르 오라스코(Iván Ferrer-Orozco_멕시코) 한국에서 거주하는 동안 녹음한 사운드&전자음향

★위 프로그램에 관한 자세한 사항은 다음 웹사이트를 참고하여 주시기 바랍니다. http://www.wix.com/conatusensemble/sonidero

*이 프로그램은 극단노뜰과 원주중앙청소년문화의집이 공동주관한 솔로공연입니다.

Sonidero 1.1 is an immersion on sound and electroacoustic music.

At this performance, music of composers from Spain, Argentina, Mexico, South Korea, France and Canada will be diffused with the aim of to take you into the internal structures of sound and its own poetic. Let me to show you through this experience, how the composer’s curiosity leads us to experiment with the sounds that surround us, or with those we find in our way, and how based on these material we create new sound experiences to make audible some of their internal characteristics, and our special and personal perception and experimentation of these common sounds and the resulting of this in the form of new and more complex sound works.

We work with sound and with the idea of sound, its meanings, its physicality, its possibilities of transformation, of diffusion on space (spacialization), and in this process we find new possibilities to record them, stretch them, reverse them, mix them, transform them, in so many ways as our imagination and the compositional tools we have –computers, samplers, filters, software, synthesizers, etc.‐ make it possible.

And this because we find a very significant and meaningful experience in sound, its context, the time and space it occupy and the reaction of our own body and conscience when we perceive it.

Music of Eric Pérez‐Segura (MX), Manuel Ramos (MX),Isoon Choi (KR), Jean‐Francois Blouin (CA), Alberto Bernal (SP), Daniel Martínez‐Burgos (SP), Federico Valdez (AR), Rogelio Sosa (MX) and Iván Ferrer‐Orozco (MX) will be played. Please come and join me in the experience of sound.

Iván Ferrer‐Orozco

‘소니대로 1.1’은 스페인, 아르헨티나, 멕시코, 한국, 프랑스, 캐나다 작곡가들이 만든 사운드로 소리의 내부구조와 그것의 시적기능들을 확대해 나가는 작업이며, 일상을 채우는 소리들이 어떻게 작곡가들에게 호기심을 불러일으켰는지, 또는 일상에서 얻은 재료들로 어떤 경험으로 인해 개별적인 내적 캐릭터로 이끌어 내는지를 경험하는 작업입니다.

이반의 솔로 공연은 무료로 공연되며, 일반관객, 관련 예술가는 물론 국내 사운드 아트분야 예술가들과의 교류시간도 동시에 이루어지길 바랍니다.

작업실노트;

이 작업은 ‘소리’에 대한 새로운 작업방법을 발견하는 계기이자, 작업과정에서 소리를 녹음하고, 그것을 확장하고, 소리를 뒤집어보고, 그것을 섞거나 변형시키는 일 역시 소리의 실험이다. 그것은 상상력과 나만의 작곡 툴(컴퓨터, 샘플러,필터, 소프트웨어, 신시사이저 등)로 가능해질 수 있으며. 일상에서 우리가 경험하는 소리, 그것의 문맥, 소리가 차지하는 시공간, 몸의 반응, 그리고 그 소리를 인식할 때 ‘옳다고 믿는 대로 행동’ 하는 부분은 매우 중요하고 의미 있는 작업이라고 생각한다.

공연에서 관객은 우리가 느끼는 특별한 혹은 일반적인 소리의 인식, 공통된 소리의 실험과 더불어 새롭고 복잡한 소리들을 경험하게 될 것이고, 우리는 일상에서 항상 소리를 접하고, 그 일상에서 접하는 소리의 의미, 육체성, 그 소리의 변형 가능성과, 공간으로부터 발산되는 소리의 가능성이 어떤 방식으로 뿜어지는지를 경험하게 될 것이다.

Estudio I (base on a text of Fernando Pessoa) (2011) 6’15’’

AQUELLA SEÑORA tiene un piano Que es agradable escuchar pero no es el correr de los ríos Ni el murmullo que hacen los árboles... ¿Para qué se necesita tener un piano?

Es mejor tener oídos Y escuchar los sonidos que nacen Alberto Caeiro

In this piece a text of Fernando Pessoa is the source of inspiration. The existential anguish of Alberto Caeiro (one of the heteronymous of the Portuguese poet) is expressed in the constant dichotomy of the reality as representation of the individual, facing the nature as perfection and unity where every conscience is dissolved. In this case is translated in the treatment of the lowest note A of the piano as sound object and only material, subverting its meaning. Thru the filtering of its spectrum and different attacks the form expands convulsing until the end without finding the exit to its own and inherent nature.

Daniel Martínez‐Burgos

Madrid in 1971. He studied at the Real Conservatory of Madrid Piano and Composition. He made further studies with Carlos Martínez‐Fontana, Alberto Bernal, Conrado del Rosario and in several courses at the Academia Chigiana in Siena with Franco Donatoni and in the Hans Eisler Musikhochschüle in Berlin with Arnulf Hermann. Actually he is professor of harmony and composition at the Conservatory of Music of Valladolid, Spain.

DON FILEMON Y CIA

Acousmatic work composed thanks to the funding of the National Fund for the Culture and the Arts of Mexico in 2007. This work is inspired in the popular culture, and is based on the famous folk Mexican song “carabina 30‐30” sung by Don Filemón with his peculiar way to imitate through the use of onomatopoeias and accompanied by his musician colleagues sharing an afternoon of imagination. The work is part of a cycle of works “al puro oído” (just with the ear) and it has its first performance in Aguascalientes, Mexico in 2007.

Manuel Ramos‐Negrete

He was born in 1974 in Puebla, Mexico. He made studies in composition at the Autonomic University of Puebla with Gonzalo Macias and Felipe Ledezma, and a MA in electroacoustic composition at the Conservatory of Music of Montreal with Yves Daoust. He made further studies with Natasha Barret and Paul Rudy.

He has written music for theater, movie and radio, actually he dedicates his time to write mix music and acousmatic music, and to the diffusion of the new music in his home town Puebla and around. He teaches composition and technology in several universities in Puebla, as well. His music has been played in Mexico, Canada and France.

corite‐mapaihnu (irradiación 0.2)

All the sound materials comes from the recordings of conversations with 8 women from different cultures and languages of the Mexico. They are: Juana Inés Reza, Martha Toledo, Clorinda Palma, Felicitas Durán, Leonarda Contreras, Ana Dolores Vega, Loida Armenta y María de Jesús López.

The idea of the work on native languages is impulse by a double fascination: about to investigate the music of the word and its gaps (alludes to the spoken word as sound material, but also as proposing entity in a musical sense); and by other side the cultural elements that works as common points between the different cultures in play, but that they are stated (because they are understood) in different ways in these cultures.

Federico Valdez

Argentinian musician born in San Miguel of Tucuman. He studied piano, guitar and musical conducting, and architecture, combined arts (film and theatre) and audiovisuals. He is graduated as professor of Harmony, Counterpoint and Musical Morphology and in Composition at the University of La Plata. He has participated as composer, conductor, player and improviser in concerts of contemporary and experimental music, and as member of the Contemporary Music Ensemble of the Fine Arts School of the same university. He has written the original music for performing and audiovisual arts works, and he has participated as soloist in live in dance and theatre works since 1995. He has been artist in residency at the LIPM in Buena Aires (2002), at the CMMAS (2008), at the CMA (2009) and at the CASLP (2010) in Mexico. He studied his Master Degree at the National University of Mexico researching on the subject “Musical creation as process”. He has been professor of composition at the National University of La Plata (1999‐2009). Actually he is professor at the Regional Conservatory of Music of La Plata, and at the Arts School Florencio Varela in Buenos Aires.

Sirenas (Mermaids)

Done only with female voice samples. This work combines voice effects and words such as "more", "love me", "come closer", etc. In some effects applied to the voice, there is the impression of turning the voice into the sound of waves and birds. All this gives the piece its name as the ancient Greek mermaids were half women and half bird.

Eric Pérez Segura

He studied Music Composition at the Superior School of Music and the Master degree in Music Technology at the National School of Music, both in Mexico City. He has participated in several courses and festivals in Mexico and abroad.

He was invited to the 2nd. Takefu International Music Festival in 2002, and was given the 2nd. prize at the 1st. International Composition Competition for Symphonic Orchestra in France in 2004, organized by the European Festivals of Youth Orchestras (Eurochestries). He was granted a scholarship as a young composer

by FONCA in 2007. Now, he is part of the Superior School of Music´s teaching staff.

His music has been performed in Mexico and other countries, and he has promoted his own music through concerts organized and sponsored by himself, with the participacion of Signos Ensemble, Tempus Fugit Ensemble, Túumben Paax Vocal Ensemble, Symphonic Metal Group Exsecror Vecordia, and several soloists.

In his works, there is a constant search of austerity by using a reduced number of elements. It will only change the way they relate to each other, all this in the context of contemporary music language.

Bars and Stripes

Al igual que en las otras obras de la serie “deconstrucciones” (de un Todo, de un redoble, de un cluster, de un ciclo, de un trino...), la deconstrucción de un principio se erige en principio discursivo de la obra. de la deconstrucción de un himno toma como punto de partida el himno americano, The Star‐Spangled Banner.

A lo largo de toda la obra, el himno es superpuesto sobre sí mismo de manera masiva, usando para ello un número de entre 3 y 30 capas. Cada una de las capas va repitiendo a su vez fragmentos del interior de una ventana (window) que va avanzando a cámara lenta a través del himno original, de principio a fin, de forma que éste acaba durando 12 minutos (el total de la pieza). De esta manera, el proceso compositivo se fundamenta en un trabajo sobre la variabilidad en el tamaño y velocidad de cada repetición, su periodicidad, así como en el número y disposición de las diferentes capas. Todo ello conforma una textura que se desenvuelve manifiestamente sobre el límite de reconocibilidad del material original, sobre el punto en el que la función original de cada elemento concurre con una funcionalidad resultante de su propia deconstrucción, de su consecuente autorrecursión.

Alberto Bernal Born in Madrid in 1978. He studied Piano (Patrín García‐Barredo), Music Theory (Omar Abad) and Composition (Alejandro Yagüe) in the Conservatories of Madrid and Salamanca. In 2001, he continues in the University of Music of Freiburg (Germany) with Mathias Spahlinger (Composition), Mesías Maiguashca and Orm Finnendahl (both Electroacustic Music), working at the same time as assistant of the Studio of Electroacoustic Music in the same university. Since 2000, he participates actively in the International Summer Courses of Darmstadt, with several lectures and premieres. In 2005‐06, granted by the Culture Ministry of Spain, he makes a stage in the Electroacoustic Music Studio of the Technique University of Berlin, receiving at the same time lessons with the composer Peter Ablinger. During 2007 he was composer in residence of the Reina Sofía Museum in Madrid.

Beside his “classical” studies, he is influenced by other kind of traditions and approaches, which has led him into the areas of Jazz, free improvisation, and other modes of musical creation which go beyond the notational praxis; he performs regularly in several improvisation projects; since 2003 works together with the composers Johannes Kreidler and Joao Pais in the project “Endphase”, a sort of “performance‐

improvisation in progress” for traditional instruments and live‐electronics.

Deeply interested in aesthetics of New Music, he regularly publishes articles in several media (kunstMusik, espacio sonoro, docenotas, Musiktexte, Ballade, Parergon, enrahonar...) giving also lectures and courses (Conservatories of Peking, Freiburg, Salamanca and Lisbon, Summer courses of Waldkirch, Lysebu center in Oslo, International Summercourses of Darmstadt, Music and Philosophy Seminar in Freiburg...).

After several periods, his work is being defined in the last time as a deconstruction of several musical “a‐ prioris” that root in the socio‐political reality. This leads the discourse into an area where the borders of music are questioned through several procedures: irruption of scenic, spatial and visual elements into the musical realm, amalgams with language or with recordings of the “outside”...

He has been represented in several places of Germany, Norway, Netherlands, Hungary, China, Ital, Portugal and Spain. His work has been recognized by means of several grants and prizes: International Summer Courses of Darmstadt, Humboldt Foundation, DAAD/La Caixa, Culture Ministry, Madrid Government, Goehte Institute, State Department of Germany, SWR Stuttgart, Academia Europaea, Residencia de Estudiantes (Madrid), Casa Velázquez (Madrid).

At the moment, he teaches electronic music and analysis in the University of Music of Mallorca and the academy Aula de Músicas (Madrid).

The frog in a machine Composition for a sonification of a chaotic circuit. 1998.

As long as the frog does not turn into a prince I can play With the frog. If it turns into a prince I may play with the prince, too.

But I don't know which one is better.

In the last few years the composer has been cultivating four frogs in a machine. The present frog is called an experimental frog. The frog in a machine is a study of enharmonic changes with the Chua's circuit. The series of experiments and documentations were aimed at achieving enharmonic shifts from one phase trajectory to another in the system. The method set for the experiments often presented stressful engagements. These engagements appeared when walking along monodic sequences, facing the walls of chaos, and frolicking in the unwanted intermittent regions.

Sonification is the translation of data into sound, to aid in understanding the data and the system that generated the data. Many states of the Chua’s circuit can be converted directly to audio signals. The composition induces and explores a vast range of states, from harmonic to chaotic, a range of states greater than those of traditional musical instruments. The piece is rendered entirely of sounds from the circuit in its induced states, with no use of post‐processing to modify the sounds for purposes of musical tradition. Post‐processing would mask the character of the states of the Chua’s circuit.

One of the compositional tasks was to unstress the sounds without changing the face of the frog. When they were allowed fully played out within the boundary conditions that are specified, they disarmed the description of what was wanted and not wanted. In this study the method for enharmonic changes does not often coincide with the perception of the enharmonicity. Shamelessly this problem is left unresolved. The problem is to compose the tonalities that are particular to the experimental systems.

This work involves a chaotic circuit and its simulation in a real‐time interactive software sound‐synthesis environment. The Chua's circuit is an experimental and numerical paradigm for conducting research with chaotic systems. It was devised by Prof. Leon Chua of U.C. Berkeley, as the simplest class of electronic circuit able to exhibit chaotic behavior. Sound was generated both in circuit hardware and in a computational

simulation installed as a plug‐in to VSS, an interactive Sound Server software environment developed at the National Center for Supercomputing Applications. The composition was computed and mixed in real‐time using parallel synthesis processes in c++, distributed and synchronized across a number of Silicon Graphics workstations. In 1998 these were the only computers that could render the simulation with real‐time interaction.

Insook Choi

Insook Choi is a Korean-­‐born composer and media interaction designer based in New York, NY. Her body of work has grown from instrumental, electro-­‐acoustic and computer music to include sensors, robotics, and interactive real-­‐time performance with video, computer graphics and virtual reality. Her design research integrates technology development results into expressive media. The research areas are directed by an artistic investigation. These encompass human gesture studies and human computer interaction, computational media, semantic computing, interactive narrative structures and signal processing, computational architecture for creative media applications, and complex dynamics applied to algorithmic design. She received the Bachelor and Master of Music from Yonsei University and the Doctor of Musical Arts from the University of Illinois at Urbana-­‐Champaign in 1995. Since then she has been producing, teaching, and creating Interdisciplinary projects as a member of creative research programs and institutes. These include the National Center for Supercomputing Applications and Intelligent HCI group in Beckman Institute at the University of Illinois, the EECE department at UC Berkeley, the School of the Art Institute of Chicago, the Hexagram institute in Montreal, and NYU-­‐Polytechnic Institute.

Her work has been performed, installed, and broadcast at international venues such as Ars Electronica Center, Linz; IRCAM—Centre Georges Pompidou, Paris; ISEA in Chicago and Groeningen; SIGGraph, and RKF radio in Germany. Her research publications can be found in ICMC, NIME, IRCAM, and the Journal of the Franklin Institute, the AAAI, ACM SIGGraph, the IEEE, and Entertainment Computing. She is recorded on the Neuma and Centaur labels.

ReviewNY review describes her work as “…cutting-­‐edge work…, If you are interested in finding the most forward –‘looking’ artistic projects in the future, it may be that you shouldn’t look to the visual art world. It may be that you shouldn’t look at all. It may be time to listen.”

Insook presently serves as Director of the Emerging Media Technologies Program at City Tech, CUNY, a highly interdisciplinary program that she has developed for a new generation of creative minds.

Catacombes

Acousmatic work inspired on the presence of the underground environments of my own existence.

Whatever happens I am confined to migrate to the basement. There where we hear less the residual vibration of my sound curiosities.

I wrote this piece imagining the sparkling of an intimate environment in a scale where the closed spaces suddenly become broad and bright, for next shut themselves with obstinate slamming doors.

Jean‐François Blouin He obtained a Diplôme d’Études Supérieures en Musique II and the Prize of Electroacoustic Composition at the Montreal Music Conservatory in 2008. His acousmatic works have been selected at the Bourges Competition, at the Canadian Electroacoustic Community, at Musica Viva (Portugal) and at the Next Generation 3.0 Festival (ZKM, Germany). His a obtenu un Diplôme d’Études Supérieures en Musique II et le Prix de Composition Électroacoustique au Conservatoire de Musique de Montréal en 2008. Depuis, ses œuvres acousmatiques ont été sélectionnées dans les concours de Bourges, de la Communauté Électroacoustique Canadienne, à Musica Viva (Portugal) et au Festival Next Generation 3.0 (ZKM, Germany). His job as technical coordinator of the music halls of the Montreal Conservatory led him to work with several music organizations: SMCQ, Quatuor Bozzini, ECM+, Innovations En Concert, Réseaux. He teaches sound design in workshops presented by the Maison de la Culture Maisonneuve. Recently he began, with Benoit Rolland (Les Hommes à Scie), a creation project with the Montagnais community of the Côte‐Nord (the innus) that has given rise to a work, Rêve Parallèle, performed at three concerts at the Conte et de la Légende de Natashquan Festival. Other recent collaborations are the multidisciplinary Fragments de Contes Vietnamiens au Pigeon Hole, Old Montreal (spetember of 2010), and an installation at the L’Oreil de Poissin Gallery at Quebec (2011).

First Garden

This works was written during my stay at the Hooyong Performing Arts Center in South Korea as artist in residence. The whole material is the recordings I made during my research on the cities of Wonju, Munmak, Buchon, and around the Performing Arts Center. I call this piece a garden because the idea of the walk in a garden is the idea that animates this work. This is a short walk thru what I heard and what I perceived here, and the result of my reflection about these sounds, this experience and this time here at South Korea.

Iván Ferrer‐Orozco

Mexico City, Mexico, 1976. His music has been played at several concert series and festivals by soloists and ensembles of Mexico, Spain, Canada, Germany, Italy and USA. He has been granted with fellowships and awards from European institutions and from Mexico, Spain, USA, South Korea, France, Germany and Canada.

He has been guest composer at the Conservatory of Music of Montreal and resident composer of the Contemporary Ensemble of Montreal. As curator he conceived the Ars Automata Project for the V Exhibition of Sound and Interactive Art of InSonora in Madrid, Spain in 2009, and the electronic music project Sonidero 1.0 for SonorizArte and Interferencias, International Meeting of Performative Arts in 2010 for the Arts Centre of San Luis Potosi in Mexico. He was declared winner of the annual Call for Scores of the Seattle Latin American Music Festival in 2008 and in 2010 of the San Diego New Music and the NOISE Ensemble. Since December of 2010 he is principal conductor of the CONATUS ENSEMBLE in Mexico. In 2011 he is composer in residence at the Hooyong Performing Arts Center in South Korea.