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Some pitches are polarized in the work and are ordered to create a downward scale segment. This freedom is related to the nature of the musical material to be generated. Its division into three parts reproduces the global features of the entire work.
These chords are unities that are fragmented by the use of specific extra-notes. It is possible to find zampronua very close correlation between the flexibility procedure used in this work and the concept of chance used in the last sculptures of Jean Arp. Flo Menezes e Edson Zampronha. Thus, the old and the new understandings overlap, creating tension that becomes the axis of the composition. Please wait a few moments while we process your request.
List of compositions by Edson S.
Edson Zampronha | ReverbNation
However, it also takes in account that these edaon must occur inside the sustained note domain. This page was last edited on 16 Augustat His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds.
Three CDs are fully dedicated to his works:.
There is a change of meaning in what we listen to. This ddson appears clearly in his use of musical rhetoric resources. When inserted in a different context the musical work is this new contexta polyphony between references appears: Each section is then divided into three components, with the global features of the work reproduced within each component.
However, the central axis of this fusion now becomes a spectrum produced by the marble. Empezando con la nota Mi, las siguientes notas polarizadas son Re, Do y Sib. Starting with E, the next polar pitches are D, C and Bb. This series is a collection of essays signed by outstanding artists-researches from the most important Brazilian Universities. One of the keywords in the music of Zampronha is “re-interpretation” or re-significationunderstood as the act of understanding in a different way what had edeon previously listened to.
He started out his musical training at a young age at home. At the beginning of the work, for example, the performer sings inside the instrument as if he or she were singing a Gregorian chant.
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.
However, the first meaning never completely disappears. Zamprohha greater the timbre particularity sought, the greater the flexibility in the musical writing.
In this sense, the concept of dissonance is re-interpreted.
En este caso, alternando entre las notas Mi y Re. The sounds were carved after being recorded.
Tres recursos son utilizados para conducir el discurso musical y crear el dramatismo de la obra: These elements drive the work’s division into three sections. Con ellas se crean tensiones y resoluciones. Besides, specific sequences of these chords may generate a new-functionality producing direccionalities inside the work. His works include pieces for orchestra, symphonic band, electroacoustic music, chamber music, sound installations, interactive works and music for films.
Three morphological elements are used in the work: A number of similar rapid twisting movements control both the marble sounds and the melodic tuba shapes. The objects were rubbed using rapid twisting movements over the entire marble surface, and the sounds generated featured particularly rich spectra and morphologies. Edson Zampronha was born in Rio de Janeiro into a family of musicians. Este control global de las alturas es muy importante para la inteligibilidad musical de la obra.
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. Similarly, the openness offered to the performer is a way to make chance appear in particular aspects of the work.
The central axis of this melting is a pitch produced by the tuba. There are polyphonic references 4 min. Views Read Edit View history. This can be attributed to the fact that musical writing is especially precise when abstract and general sound features are involved, but is less precise when more particular features such as timbre are represented.
The next example occurs at 4 min. Concerning his harmonic language, Zampronha uses non-traditional but intelligible chords comprising many notes from 6 to 18, or even more.
Its third component is a sustained note with repetition features, giving way to repeated notes in the same pitch. 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.
This overall control of pitches is very important to the musical intelligibility of the work. This solo is almost a slow and profound recitative. His first lessons included musical composition, history of music, theory, harmony, counterpoint and musical analysis, besides piano playing.