Argentine National Music Council Consejo Argentino de la Música

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1 International Rostrum of Composers 2018 Budapest, Hungary Argentine National Music Council Consejo Argentino de la Música Radio Universidad Nacional LM

2 SZEWACH,Julieta(b.1971,Argentina) Her* music* has* been* featured* at* the* ISCM* World* Music* Days* (Romania* 1998;* Hong* Kong* 2002*and*Switzerland*2004),*Warsaw*Autumn*Festival,*Festival*Berlioz*(France),*Bourges* Electroacoustic* Festival,* Festival* Leo* Brouwer* (Cuba),* Australasian* Computer* Music* Association*Festival,*among*others.* She* was* a* Jury* member* of* the* International* Computer* Music* Conference* 2007* (Copenhagen)*as*well*as*the*Semaine*Internationale*de*la*Musique*Électroacoustique*2018* (Lille,*France).* She* studied* Gregorian* Chant,* Piano* and* Composition* and* specialized* in* Indigenous* Wind* Instruments*studying*with*several*teachers*of*the*oral*Tradition*of*the*Andes.* As*one*of*the*researchers*of*the*Center*of*Ethnomusicology*and*Creation*(IDECREA)*of*the* National* University* and* member* of* the* Orchestra* of* Indigenous* Instruments* and* New* Technologies*she*has*focused*in*the*study*of*the*indigenous*vocal*techniques*of*the*Piaroa* and*tukano*communities*in*her*field*trips*to*the*amazonas*rainforest*of*brazil.* She* graduated* from* the* Master* Degree* in* Musical* Creation,* New* Technologies* and* Traditional*Arts*of*the*National*University*at*Tres*de*Febrero*and*teaches*Composition*in* the*bachelor*degrees*in*indigenous,*classic*and*popular*music*of*the*americas*at*the*same* University.* ProgramNotes ELOCÉANODELALIENTOPURO (THEOCEANOFPUREBREATH) ForSymphonyOrchestra,Pre3columbianInstruments,Tapeand4Sopranos(2018) byjulietaszewach * Thisisthetestimonyofhowallwasinsuspense,insilence;allmotionless,still. Therewasneitherman,noranimal,trees,stones,caves,grassesnorforests. ThesurfaceoftheEarthhadnotappeared. TherewasonlythecalmOcean. ************************************************************POPOL*VUH,*Maya*Pre_columbian*Creation*Myth* For*the*native*Traditions*of*the*Americas,*the*first*manifestation*of*Creation*was*the*Ocean* of* Pure* Breath.* That* first* stage* was* followed* by* a* second* one* in* which* the* Ocean* of* Pure* Breath* produced* an* Ocean* of* Sonorous* Waves,* which* slowly* transformed* itself* into* an* Ocean* of* Liquid* Waves,* later* hardening* and* giving* birth* to* the* Rhythms* of* Time,* Constellations* and* Planets.* As* the* Creation* becomes* more* material,* those* sonorous* waves* move* to* the* inner* self* of* every* being* and* object.* Thus,* for* the* spiritual* Pre_ columbian*traditions,*the*primordial*ocean*of*pure*breath*converts*itself*into*the*sound*of* the*sea*waves,*the*polar*silence*and*the*roar*of*the*forests.** Musical* instruments,* carriers* of* this* primal* Mystery,* surge* from* the* fertile* humus,* from* woods*and*rocks,*from*the*shells*of*animals*as*well*as*from*their*bones,*skins*and*hooves.** They*are*the*vectors*that*transmit*the*mystic*Sound*of*the*Universe,*together*with*that*of* the* soul* of* their* interpreter,* in* a* voyage* back* to* the* Spirit* from* which* they* originated.* Therefore,*Pre_columbian*Cultures*were*careful*to*encrypt*the*symbolism*of*the*sonorous* genesis*of*the*cosmos*in*the*elaborated*iconography*of*their*instruments,*which*for*them* were*sacred*vessels.* *

This* piece,* based* on* the* first* Chapter* of* the* Popol* Vuh,* strives* to* converge* different* sonorous* universes*(symphony* Orchestra,* Pre_columbian* Instruments,* Human* Voice* and*

3 This* piece,* based* on* the* first* Chapter* of* the* Popol* Vuh,* strives* to* converge* different* sonorous* universes*(symphony* Orchestra,* Pre_columbian* Instruments,* Human* Voice* and* Electroacoustic*transformation)*in*an*invocation*of*that*Primordial*Time*when*everything* was* in* Unity,* and* it* is* also* a* personal* prayer* that* manifests* a* desire* that* our* ancient* spiritual* knowledge* might* help* Humanity* to* recover* its* place* within* the* sacred* space* of* the*cosmos.* Performers: Philharmonic Orchestra of Río Negro,* Soloists* of* Pre_columbian* instruments* from* the* Orchestra of Indigenous Instruments and New Technologies,* Tapeand* 4Sopranos* (JulietaSzewach,SusanaFerreres,AnabellaEnrique,EmiliaSosa).** Conductor:MartínFraile.* Born* in* 1977,* Maestro Martín Fraile* specializes* in* contemporary* music* and* founded* in* 2014*the*PhilharmonicOrchestraofRíoNegro*in*Patagonia*(Argentina).* In* the* past,* he* served* as* Assistant* Conductor* of* the* Louisiana* State* University* Symphony* and*opera*orchestras*and*is*now*assistant*conductor*of*the*stanford*symphony*orchestra* as* well* as* Principal* Conductor* of* the* Stanford* University* Ensemble* for* Contemporary* Music.* After*serving*as*Acting*Director*of*Orchestral*Studies*at*Stanford*University,*he*returned*to* Argentina*where*he*is*in*charge*of*a*Program*of*more*than*25*Youth*Orchestras*and*Choirs* across*the*rio*negro*province*of*patagonia*as*well*as*a*frequent*guest*conductor*for*the* National*Dance*and*Opera*Program.* Pre3columbianInstrumentsusedinthiswork:

Pompidou* and* the* Paris* VIII* University* (where* he* obtained* his* Master* Degree* in* Musicology).

5 FERNANDEZ,MarianoAgustín(b.1974,Argentina) He*studied*in*Argentina*at*the*Manuel*de*Falla*Conservatory*and*the*Center*for*Advanced* Studies*in*Contemporary*Music*as*well*as*in*France*at*the*Lille*III*University,*Ircam_Centre* Pompidou* and* the* Paris* VIII* University* (where* he* obtained* his* Master* Degree* in* Musicology).* He*received*several*prizes*in*composition,*included*the*one*of*the*International*Rostrum*of* Electroacoustic*Music*in*2000*for*his*work*Refugio*y*Temblor.* His* compositions* have* been* played* all* over* the* world* at* prestigious* Festivals* such* as* the* Juilliard* Focus* Festival* at* Lincoln* Center,* ISCM* World* Music* Days* and* has* received* commissions*from*different*ensembles*in*argentina*and*france.* He*leads*the*SombracineMúsica*Recording*Studio*in*Buenos*Aires*where*he*works*as*a*film* composer*as*well*as*a*musical*producer*for*popular*and*classical*music.* ProgramNotes YAGUAÍ^elviaje^ ForBerimbao,Wii3rimbao,TapeandLiveElectronics(2016) bymarianoagustínfernández Yaguaí&_el*viaje_*is*a*mixed*live*electronics*piece*for*two*performers,*one*of*Berimbao,*one* of*wii_rimbao*(virtual*berimbao*conceived*on*the*basis*of*the*use*of*a*nintendo s*wii*video* game* controller,* as* a* musical* instrument,* programed* on* Max/Msp* software).* The* Wii_ rimbao*is*in*charge*of*performing*all*the*electroacoustic*part:*playing*as*well*as*modulating* the*sounds*and*triggering*the**pre_recorded*sequences.*the*sonority*and*gestuality*of*the* Berimbao* is* the* main* axis* of* this* piece;* in* fact,* every* electroacoustic* sound* comes* from* original* recordings* and* digital* processings* of* this* traditional* south* american* instrument.* From* a* musicological* point* of* view,* the* Wii_rimbao*(as* an* instrument)* is* an* hybridation* born*as*an*answer*to*the*problematic*opened*by*the*virtualization*of*the*berimbao,*which* has* constituted* the* genesis* of* the* creative* process* of* this* work.* Although* the* point* de* depart* was* to* think* about* the* Berimbao,* its* gestures,* its* sounds* and* everything* that* it* could*to*evocate*in*a*cultural*level,*it*was*absolutely*not*the*idea*to*copy*the*real*berimbao.* In*fact,*being*virtual*is*not*necessarily*the*opposite*to*being*real.*In*words*of*Pierre*Levy* the*virtual,*firmly*defined,*doesn't*have*but*a*few*of*affinity*with*the*false,*illusory*or*the* imaginary.* The* virtual* doesn t* oppose* to* the* real* but* it* is* a* way* of* being* fertile,* powerful* and*deeper*in*the*game*of*the*creative*process.*this*opens*possibilities,*goes*through*abyss* of*senses*under*the*flatness*of*the*immediate*physical*presence. *This*piece*is,*after*many* years* of* work,* the* final* result* of* several* previous* versions* that* have* been* adjusted* to* its* formal*structure*as*well*as*to*the*performatic*device.* Performers: MarianoFernandez^JuanKrymkiewiczDuo *

6 ** ** ** VILA,Juan(b.1987,Argentina) He* is* a* musician*(charango* virtuoso* and* composer)* as* well* as* a* PhD* in* Philosophy* from* the* University* of* Buenos* Aires.* He* writes* and* teaches* on* the* cross_linkings* of* music* and* philosophy*and*has*published*books*( The*paradox*of*rationality,*on*the*concept*of*second* Nature )*and*articles*on*both*science*and*philosophy*( Heidegger*and*the*genealogy*of*the* question*of*being,* A*Critique*of*Ontological*Pluralism:*The*Case*of*Quantum*Mechanics ).* He* holds* a* Fellowship* * from* the* CONICET* (National* Council* Center* for* Scientific* and* Technical*Research)*and*was*awarded*the*Honorary*Prize*in*Folklore*2017*of*the*National* Endowment*for*the*Arts*of*Argentina*for*his*CD*Tunupa* *Pura*Semilla*with*songs*inspired* from*the*argentine*tradition*of*the*andes.* ProgramNotes WAYRA ForSeashellNaturalTrumpets,ClayDoubleFlutes,Quenas,PinkillosandTape(2017) byjuanvila Wayra* was* composed* as* an* exploration* of* the* different* playing* techniques* of* the* aerophones*from*the*highland*andes*performed*by*the*composer.*wind*instruments*were* highly* developed* in* ancient* cultures* of* the* Americas* (something* evident* from* the* wide* range*of*timbres,*intensities*and*scales*that*can*be*generated*through*them).* But* Wayra* moves* beyond* an* organological* experimentation.* Through* its* musical* exploration*of*the*instruments,*the*piece*tries*to*bring*forward*the*deep*symbolic*meaning* of*wind*in*the*andean*sacred*traditions.*the*aerophones*are*transformed*through*different* playing*techniques*and*digital*processes:*from*the*quiet*whisper*of*the*whistle*tone*that* requires*a*minimum*blow*(just*like thewindcausedbyaflutterofabutterfly *which*is*the* original* meaning* of* the* Greek* term* Psyche)* to* the* maximum* violence* of* the* Erke,* which* must*be*played*with*extreme*strength*in*order*to*get*its*characteristic*harmonics.* All* these* symbolic* and* musical* elements* of* our* indigenous* heritage* are* combined* at* the* same* time* with* the* last* Digital* technologies,* making* Wayra* a* time_travelling* musical* composition.* Performers: JuanVila,HoracioVelasco,NataliadelaPuente,LautaroToscanoandMelissaFoss. *

Emília Simão Portuguese Catholic University, Portugal. Armando Malheiro da Silva University of Porto, Portugal

Emília Simão Portuguese Catholic University, Portugal. Armando Malheiro da Silva University of Porto, Portugal xv Preface The electronic dance music (EDM) has given birth to a new understanding of certain relations: men and machine, art and technology, ancient rituals and neo-ritualism, ancestral and postmodern