Baba Yaga is an exploration of live processing, sample-based music, and processed electroacoustic drumset performance. The character Baba Yaga (often referred to as “Bony-Legged") is a witch and common antagonist in Slavic folklore. The piece features a recitation of a Baba Yaga folk tale, from Politicizing Magic: an Anthology of Russian and Soviet Fairy Tales, in both the English and Russian languages. The tale intertwines and juxtaposes language and rhythm. The electronics of Baba Yaga contain many short samples played on a drum sampler pad, a series of fixed-media sections, and live audio processing for the drumset. The sampled material is constructed from both audio and MIDI instruments. < Back Ir al final | go to botom Baba Yaga – Jacob Ransom (EUA) Baba Yaga is an exploration of live processing, sample-based music, and processed electroacoustic drumset performance. The character Baba Yaga (often referred to as “Bony-Legged") is a witch and common antagonist in Slavic folklore. The piece features a recitation of a Baba Yaga folk tale, from Politicizing Magic: an Anthology of Russian and Soviet Fairy Tales, in both the English and Russian languages. The tale intertwines and juxtaposes language and rhythm. The electronics of Baba Yaga contain many short samples played on a drum sampler pad, a series of fixed-media sections, and live audio processing for the drumset. The sampled material is constructed from both audio and MIDI instruments. Jacob Ransom Jacob Ransom is a percussionist, composer, and educator. This spring, he finished his Doctoral degree in percussion performance at the University of Arizona under the tutelage of Dr. Morris Palter. Ransom specializes in electroacoustic music, video composition, and drumset. He bridges the divide between academic study and folklore, embracing scholarly and colloquial approaches to music and life, savoring the intricate while appreciating simple elegance. Ransom currently performs and collaborates with many groups and artists including Desert Fantasy, Y La Bamba, Darol Anger, Tiburones, Nick Delphs, Megan Diana, Rory James, and Esperanza Spalding. Ransom has held the position of principal percussionist for the University of Arizona Wind Ensemble, the University of the Arizona Symphony Orchestra, Fairbanks Symphony Orchestra, and was assistant director of the Malleus percussion ensemble. He received his Master of Music degree from the University of Alaska, Fairbanks, studying with Dr. Morris Palter, and his Bachelor of Music degree at Southern Oregon University, studying with Dr. Terry Longshore. Social Media: Music Website (Desert Fantasy) https://spark.adobe.com/page/GK2tSaljWbA1M/ IG: https://www.instagram.com/jake__ransom/?hl=en Website: https://jacobransom.wordpress.com/ ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS

Conferencia - Día 3 < Back Annie Mahtani (Reino Unido) - Hidden Sounds: field recording and responses to climate change Conferencia - Día 3 Descripción | Abstract This talk will focus on Annie’s recent work in environmental field recording, using and developing recording techniques to capture sound inaudible to the naked ear, with a focus on her current project working with BIFoR (Birminhgam Institute of Forest Research) to explore the sonic landscape of this experimental forest. Throughout the talk she will present various creative outputs from the research. Annie Mahtani (UK, 1981) is an electroacoustic composer, sound artist and performer working and living in Birmingham (UK). Her output encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, Annie Mahtani has worked extensively with dance and theatre, and on site-specific installations. With a strong interest in environmental sound, her work explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear.. Annie works extensively with multichannel audio both in fixed medium works and in live performance. Annie is an Associate Professor in Music at the University of Birmingham. https://www.youtube.com/watch?v=oB67BT9avKo Previous Next Para más información escribir a info@visionessonoras.org | For more information write to info@visionessonoras.org

14.09.2022 < Regresar Fredy Vallejos (Colombia | Ecuador) 14.09.2022 TEMPUS / PACHA Fredy Vallejos ha realizado estudios de percusión, composición, informática musical y musicología en Colombia, Francia y Suiza. Su preocupación estética, caracterizada por la exploración de un universo sonoro múltiple y heterogéneo, se basa principalmente en trabajos de investigación etnomusicológica, formalizados mediante herramientas de CAC (composición Asistida por computador) y en la relación del sonido con otras formas de arte. Sus obras se han presentado en más de 15 países y participado en festivales como AIMAAKO, Archipel, Charlesroi Danses, DOCK.fest, Escuchar-Sonidos Visuales, Encuentros Sonoros, Experimenta Sur, FICCI, IDFA, Milano Musica, MANIFESTE, o Visiones Sonoras entre otros. Laureado del Multimedia Prize (Milan), del concurso de composición André Jolivet (Francia) y Finalista de los concursos de jóvenes solistas de la Orquesta Filarmónica del Valle del Cauca y de la Orquesta Sinfónica Nacional de Colombia. Segundo puesto y Premio a los mejores arreglos en el concurso de música tradicional afro colombiana Petronio Alvarez. Residente en la Cité International des Arts de Paris (2013-2014) y becario de la ciudad de Villeurbanne, de la Fundación Simón Patiño, del Instituto Departamental de Bellas Artes (Cali-Colombia) y de la Ciudad de Ginebra (Suiza). Actualmente es coordinador de la carrera de Artes Musicales y Sonoras de la Universidad de las Artes del Ecuador. Descripción del concierto: A través de diferentes textos (Guambo: Primavera Nuclear Andina, Lema: Ñuka hatunmamata pachaka imata kan nishpa tapukpika, BIPM: The International System of Units), la obra explora el concepto de identidad, a partir del Tiempo como eje transversal de reflexión, y del sonido en tanto que fenómeno temporal por excelencia. TEMPUS / PACHA juega entonces con los límites entre una temporalidad discursiva y cíclica. Entre una narración y una especie de performance ritual donde el fluir de la existencia da paso a un presente continuo, a una temporalidad difusa acentuada por la multiplicidad de experiencias sensoriales de la propuesta. Composición, programación y video: Fredy Vallejos Textos y voz: Agustín Guambo Asistencia: Mario Rodriguez: Edición de video Jorge Flores: Imágenes de archivo Juanjo Ripalda: Programación Previo Siguiente

Christophe Cinq. “Mindscape”; March 2021, Montreal, Canada. A sonic interactive virtual fresco reacting to brainwaves. Research-creation about procedural audio/visual systems in virtual space and brain-computer interface. Developed in Unity 3D with an Oculus Quest 2 and Emotiv Insight headset. < Back Ir al final | go to botom Mindscape: A Journey Into The Mind - Christophe Cinq (Canadá) Christophe Cinq. “Mindscape”; March 2021, Montreal, Canada. A sonic interactive virtual fresco reacting to brainwaves. Research-creation about procedural audio/visual systems in virtual space and brain-computer interface. Developed in Unity 3D with an Oculus Quest 2 and Emotiv Insight headset. Mindscape’s title is self-explanatory: A scape from the mind. The game does that by harnessing the brainwaves, taking place in a quasi-complete abstraction of reality, diving into a virtual world. The player enters a biofeedback system by receiving auditive and visual cues of its brain state and ultimately interacts with it only with its mind. Christophe Cinq is a Canadian artist living in Montreal and graduated in Electroacoustic studies at Concordia University. Multi-instrumentalist, versatile, he expresses himself musically by pouring in several styles and mediums that he tries to place in dialogue with each other. He is passionate about fundamental sound research, creation, interpretation and composition of musical works. He is particularly interested in the principles of audience immersions induced by sound spatialization, especially in video games. ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS

El objeto de estudio consiste en la vinculación de las trayectorias en el espacio de las curvas notables con conceptos arquitectónicos y texturales. Se consideran las curvas hipotrocoide y epitrocoide a partir de las posibilidades que brinda el espirógrafo, por las relaciones de analogía que propician la referencialidad de diseños de la arquitectura para la conformación de texturas. La espacialidad del sonido se planteará a partir del enfoque analítico propuesto por Gary Kendall. Esta investigación aborda una pequeña parte de las posibilidades que brinda la espacialización de las trayectorias de hipotrocoides y epitrocoides, para la composición de obras electroacústicas. < Back Ir al final | go to botom Dimensión espacial a partir de hipotrocoides y epitrocoides - Sandra Elizabeth González (Argentina) El objeto de estudio consiste en la vinculación de las trayectorias en el espacio de las curvas notables con conceptos arquitectónicos y texturales. Se consideran las curvas hipotrocoide y epitrocoide a partir de las posibilidades que brinda el espirógrafo, por las relaciones de analogía que propician la referencialidad de diseños de la arquitectura para la conformación de texturas. La espacialidad del sonido se planteará a partir del enfoque analítico propuesto por Gary Kendall. Esta investigación aborda una pequeña parte de las posibilidades que brinda la espacialización de las trayectorias de hipotrocoides y epitrocoides, para la composición de obras electroacústicas. Sandra Elizabeth González. Compositora argentina, egresada del Conservatorio Superior de Música ‘Manuel de Falla’. Licenciada en Composición con Medios Electroacústicos por la Universidad Nacional de Quilmes. Es docente, a través de concursos por antecedentes y oposición, en el Conservatorio ‘Alberto Ginastera’, Conservatorio Superior de Música ‘Manuel de Falla’, Conservatorio Superior de Música ‘Ástor Piazzolla’ y en la Pontificia Universidad Católica Argentina. Ha compuesto obras para instrumentos solos, ensambles, orquesta, coro de cámara, obras electroacústicas y medios mixtos. Sus obras han sido seleccionadas para participar en los siguientes Festivales internacionales: 41 st International Computer Music Conference (EE.UU.), L’Acusmonium AUDIOR ( Italia), New York City Electroacoustic Music Festival (EE.UU.), MUSLAB (México, Inglaterra y Francia), Delian Academy for New Music (Grecia), 43rd ICMC (Corea del Sur), Mixtur (España) y ACMC (Australia), entre otros. Es Directora Artística del Festival Internacional de Música Contemporánea Atemporánea (Argentina). ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS

thing = present-at-hand; thing = encounter This talk presents the idea of a ‘music of things’ in relation to DIY electronic music. The electronic circuit is seen as representing an environment or framework where sound encounters or potentials may exist. There is the thingness of making the circuit, the connections for things to flow. So, when thinking about the thingness of a sound generating circuit, is this the connectivity of the circuit? Or the way in which the circuit is built, sounded or re-configured? Or the community from which the circuit arises? Other issues raised are making as performance, performance-installation, attending to sound, sonic wayfaring, and sound through materials. < Back Ir al final | go to botom The Music of Things - John Richards (Reino Unido) thing = present-at-hand; thing = encounter This talk presents the idea of a ‘music of things’ in relation to DIY electronic music. The electronic circuit is seen as representing an environment or framework where sound encounters or potentials may exist. There is the thingness of making the circuit, the connections for things to flow. So, when thinking about the thingness of a sound generating circuit, is this the connectivity of the circuit? Or the way in which the circuit is built, sounded or re-configured? Or the community from which the circuit arises? Other issues raised are making as performance, performance-installation, attending to sound, sonic wayfaring, and sound through materials. John Richards explores the idea of Dirty Electronics that focuses on shared experiences, ritual, gesture, touch and social interaction. He is primarily concerned with the performance of large-group electronic music and DIY electronics, and the idea of creating music inside electronics. His work also pushes the boundaries between performance art, electronics, and graphic design and is transdisciplinary as well as having a socio-political dimension. Dirty Electronics has been commissioned to create sound devices for various arts organisations and festivals and has released a series of hand-held synths on Mute Records. ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS

Conferencia | Lecture Regresar Conferencia | Lecture Interactive gestural software interaction developed in GranuRise and seqMPEror Andrej Kobal (Slovenia) The presentation will be based on the interactive gestural concepts used in the GranuRise and seqMPEror projects, which were developed in Max MSP. You can find more about the projects here http://granurise.com and https://seqmperor.com/ The presentation is going to be based on the gestural concepts with the addition of some other related topics and concepts such as: - how to perceive and develop a virtual instrument to act less as software and more like a musical instrument - as we know, almost the whole of electronic music is developed in a grid-based system, so an interesting approach also presented in the GranuRise project is how to interact in a more natural non-grid-based way using the gesture implementation - an additional concept is also how to use a gesture implementation to build a unique sound design without the use of complex matrices and LFO schematics - GranuRise and seqMPEror features also an MPE integration which evolves even further the concept of an expressive gestural control Andrej Kobal , born in 1981, is a Slovenia composer, sound designer, Max MSP programmer who is active in various fields of contemporary music. He works as a Max MSP programmer for sound art installations and events, and he makes custom build solutions for software and hardware musical instruments and other interactive devices. As an advanced user of Max Msp, Andrej is constantly creating his own virtual instruments, which makes his sound design and composing unique and innovative. With this knowledge and experience, he has created a virtual instrument, GranuRise, which includes an interesting approach to sampling, granular, spectral and other types of sound synthesis. The GranuRise project has obtained a wide response from various important worldwide known sound designers, artists and institutions. Para más información escribir a info@cmmas.org | For more information write to info@cmmas.org Proyecto apoyado por la Secretaría de Cultura, a través del Centro Nacional de las Artes y el proyecto Chapultepec, Naturaleza y Cultura por medio de la convocatoria: Territorios enlazados.

In a continuously consumerist society, our wasteful living has catastrophic consequences on our surrounding environments. The same thing goes for sound in these spaces; our cities getting noisier and louder. But, just as we recycle our waste; the plastic bottles and empty containers – the same thing can be done with our sonic discard. New perspectives on previously labeled noise, unwanted, and unpleasant sounds, can lead to interesting results, both compositionally as well as philosophically. A shift of viewpoint, not fighting against the noise, but instead coming to terms with our ever changing society, will allow for a more sustainable way of working with, and around it – both on a social and communal level, as well as on a musical plane. < Back Ir al final | go to botom Recycling the unwanted, a new life to sonic discard - Malte Leander (Canadá) In a continuously consumerist society, our wasteful living has catastrophic consequences on our surrounding environments. The same thing goes for sound in these spaces; our cities getting noisier and louder. But, just as we recycle our waste; the plastic bottles and empty containers – the same thing can be done with our sonic discard. New perspectives on previously labeled noise, unwanted, and unpleasant sounds, can lead to interesting results, both compositionally as well as philosophically. A shift of viewpoint, not fighting against the noise, but instead coming to terms with our ever changing society, will allow for a more sustainable way of working with, and around it – both on a social and communal level, as well as on a musical plane. Malte Leander is a Swedish-French composer and artist currently residing in Tiohtià:ke/Montréal, Canada, studying at the program of Electroacoustic studies at Concordia University. He is actively engaged in a variety of contexts; from hosting and organizing different musical events such as live shows, workshops and music camps together with the electronic music collective and label So&Such in Sweden, to being a present figure in the Fine Arts community in Montreal, working in local community radio by facilitating discussions with local artists around the topics of digital practices and new media art and technology from the Montreal area. His multilingual skills and electroacoustic compositional endeavors has gotten him to work with text-sound composition and sound poetry, often mixed with his interest for sustainability through acoustic ecology and related topics. ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS

Ir a cmmas.org < Regresar Concierto: Paisajes sonoros y geografía Jason Sloan, Erik Spangler 21 mar 2014 Este concierto presentará el resultado de los trabajos realizados durante el curso: Soundscape & Geography As Sources For Live Electronic Composition. Jason Sloan Jason Sloan is an electronic musician, composer, sound and net.work artist, and professor teaching full-time in the Interaction Design and Art [IxDA] Department at the Maryland Institute College of Art in Baltimore, Maryland. His work explores life cycles, memory, culture and ritual behavior within a framework of the sonic and virtual worlds. In 2002 Sloan co-founded SLO.BOR Media with sound artist & web designer Matt Borghi as a vehicle for their individual releases and a platform for other artists. SLO.BOR Media is primarily a record label, but focuses on a variety of media and forms of distribution and conceptual art. Sloan received his BFA from Edinboro University in 1996 and his MFA from Towson University in 1999. His work has been exhibited internationally including New York, Vienna, Copenhagen, Toulouse, Kiev, Edinburgh, London, Berlin & Saint-Petersburg, Russia. FOR MORE INFO ON JASON.SLOAN PLEASE VISIT: http://www.jasonsloan.com Erik Spangler Erik Spangler is a composer and electronic musician living in Baltimore, Maryland. Engaged equally with ensemble improvisation, live sample-based mixing, hybrid electronica production, and notated chamber music, Spangler aims to dissolve cultural boundaries while drawing all corners of inspiration into cohesive sound images. Autobiographical audio artifacts, field recordings and found sounds share equal space with newly composed material. Spangler’s compositions have been performed across the United States and internationally from Canada to China, by ensembles including the Atlantic Brass Quintet, Boston Modern Orchestra Project, and International Contemporary Ensemble. Performances as a turntablist/electronic musician include collaborations with duYun, EAR Duo, Brian Sacawa, Mobtown Modern, jason.sloan, Out Of Your Head collective, Cornell Symphony Orchestra, and Ithaca College Percussion Ensemble. Music released on New Focus Recordings (Brian Sacawa, American Voices), Innova Recordings (duYun, Shark In You), and indie hip-hop label Nonsense Records (S.K.I.P., What They Never Told You). Spangler holds degrees from Oberlin College Conservatory of Music (B.M., Music Composition) and Harvard University (Ph.D., Music Composition), and currently teaches sound classes as an adjunct faculty member of the Interactive Arts department at the Maryland Institute College of Art." FOR MORE INFORMATION ON ERIK SPANGLER, PLEASE VISIT: http://dubble8productions.com Previous Next

Viernes 28 de noviembre 2025 Ir a cmmas.org < Back Concierto: Cátedra de composición de la Facultad Popular de Bellas Artes [México] Viernes 28 de noviembre 2025 Descubre el Acervo CMMAS Previous Next

This is placeholder text. To change this content, double-click on the element and click Change Content. < Back Flowers, sound & cardboards a concert performance - KNM Ensemble Berlin. [Alemania] KNM Ensemble Berlin. Interpretación y creación: Cosima Gerhardt Ana Maria Rodriguez Thomas Bruns Previous Next

Desde la segunda mitad del siglo XX, la apuesta por la paridad de acceso a la educación musical profesional, así como la difusión de obras de compositoras se convirtió en una constante. En este sentido, se propone realizar un recorrido sonoro que nos permitirá revisitar y reconocer el trabajo de compositoras mexicanas que desarrollaron obras electroacústicas entre los años 60 y 90, convirtiéndose en pioneras ya no sólo en la creación musical contemporánea, sino también en difusoras y promotoras de la música electroacústica en nuestro país. < Back Ir al final | go to botom Entre náyades y nereidas: Una reflexión en torno a las compositoras mexicanas del siglo XX - Angélica Montserrat Perez Lima (México) Desde la segunda mitad del siglo XX, la apuesta por la paridad de acceso a la educación musical profesional, así como la difusión de obras de compositoras se convirtió en una constante. En este sentido, se propone realizar un recorrido sonoro que nos permitirá revisitar y reconocer el trabajo de compositoras mexicanas que desarrollaron obras electroacústicas entre los años 60 y 90, convirtiéndose en pioneras ya no sólo en la creación musical contemporánea, sino también en difusoras y promotoras de la música electroacústica en nuestro país. Estudió Ciencias de la Comunicación en la UNAM (2013). Inició sus estudios formales en música en la Escuela de Iniciación Artística Número 1 del INBAL (2012) y posteriormente participó como violista en la Orquesta Sinfónica Juvenil Miguel Hidalgo y en la Orquesta Filarmónica Juvenil de la Ciudad de México. Durante ese tiempo trabajó en la producción de algunas series radiofónicas en Radio Educación donde también colaboró como guionista, musicalizadora y efectista. En 2016 ingresó a la licenciatura en Musicología del Conservatorio Nacional de Música donde actualmente desarrolla una investigación sobre la compositora mexicana Guadalupe Olmedo. En 2019 se integró al Taller de Electroacústica, donde ha participado bajo la guía del maestro Josué Peregrina. Como investigadora, ha colaborado en ponencias como: “Entre valses, polcas y danzas: Juventino Rosas”, junto al musicólogo Ricardo Miranda por 125 aniversario luctuoso de Juventino Rosas organizado por el Instituto Nacional de Estudios Históricos de las Revoluciones de México (INEHRM, 2019). De igual forma, participó en la publicación “Tema y 33 divagaciones sobre Ludwig van Beethoven”, en el número especial de la revista Liber (Otoño 2020). Participó en el IV Coloquio “Miguel Bernal Jiménez, 250 años con Beethoven” organizado por el Festival de Música de Morelia (Noviembre 2020) con la ponencia: “Beethoven en la cultura popular: de los Beatles a Tin Tan”, posteriormente publicada en la revista “Arte, entre paréntesis” de la Universidad de Sonora (2020). Participó en la primera edición de los Cuadernos de Música de la UNAM (2021) con el artículo: “Prácticas femeninas y el desarrollo de la música en México en el siglo XIX”. Recientemente, participó como guionista de una serie de podcast conmemorativos por los “500 años de Música en México”, organizados por Música UNAM (2021). También ha participado de distintos talleres y seminarios como: el taller “Stockhausen: Kontakte - Un enfoque integral” en la Casa del Lago UNAM (2019); el curso “Beethoven un compositor que no existió”, organizado por la Cátedra Extraordinaria de Composición Musical Arturo Márquez (2020). Así como el taller de “Arreglo musical e hibridación”, impartido por Jorge Calleja en el área de Educación Continua de la Facultad de Música de la UNAM (2021). ¿Tienes comentarios o preguntas al artista? participa en nuestro foro Do you have comments or questions to the artist? Participate in our forum Button Ir arriba | Back to Top Previous Next COLABORADORES APOYOS PÚBLICOS