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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Each section is then divided into three components, with the global features of the work reproduced within each component.

Edson Zampronha | Composer

The next example occurs at 4 min. Thus, the old and the new zaampronha overlap, creating tension that becomes the axis of the composition. Three morphological elements are used in the work: Similarly, the openness offered to the performer is a way to make chance appear in particular aspects of the work.

There are polyphonic references 4 min.

ABOUT Edson

However, the first meaning never completely disappears. Tension is primarily created by the close alternation of two adjacent polar pitches.

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

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When inserted in a different context the musical work is this new contexta polyphony between references appears: This solo is almost a slow and profound recitative.

By using this site, you agree to the Terms of Use and Privacy Policy. Este solo es casi un recitativo, lento y profundo. 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. The electroacoustic sounds come from a marble surface rubbed with various metal, glass and clay objects. Tres recursos son utilizados para conducir el discurso musical y crear el dramatismo de la obra: Besides, specific sequences of these chords may generate a new-functionality producing direccionalities inside the work.

This page was last edited on 16 Augustat 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. The objects were rubbed using rapid twisting movements over the entire marble surface, and the sounds generated featured particularly rich spectra and morphologies.

List of compositions by Edson S.

Edson Zampronha | ReverbNation

This series is a collection of essays signed by outstanding artists-researches from the most important Brazilian Universities. It is also important to consider the introduction of varying degrees of performance freedom included in the tuba score. Doctor of Musical Arts at the University of Georgia.

And there are places where timbre becomes central to the musical composition 5 min. In he was introduced into electroacoustic music composition, and his first experiments were done in zamprpnha four-channel Revox tape recorder. From Wikipedia, the free encyclopedia. Zamprobha re-interpretation appears clearly in his use of musical rhetoric resources. His works include pieces for orchestra, symphonic band, electroacoustic music, chamber music, sound installations, interactive works and music for films.

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Empezando con la nota Mi, las siguientes notas polarizadas son Re, Do y Sib. Compared with what has been present to this moment, this sound introduces a familiarity reminiscent of the history of music itself. Its division into three parts reproduces the global features of the entire work. In this sense, the concept eson dissonance is re-interpreted.

Its third component is a sustained note with repetition features, giving way to repeated notes in the same pitch. This freedom is related to the nature of the musical material to be generated.

At the beginning of the work, for example, the performer sings inside the instrument as if he or she were singing a Gregorian chant. However, the central axis of this fusion now becomes a zsmpronha produced by the marble.

Edson Zampronha

There is a change of meaning in what we listen za,pronha. Some pitches are polarized in the work and are ordered to create a downward scale segment. In the first section, for example, the key feature is a sustained note. Starting with E, the next polar pitches are D, C and Bb. Some of his works are:. There are strictly written parts, and there are others with greater flexibility.