Edgar Barroso

Chiara String Quartet

Photographer: Christian Steiner

“ENGRAMA” will be performed at the Sanders Theater at Harvard University in February 2013.

SANDERS THEATER:

Renowned for bringing fresh excitement to traditional string quartet repertoire as well as for creating insightful interpretations of new music, the Chiara String Quartet (Rebecca Fischer and Julie Hye-Yung Yoon, violins; Jonah Sirota, viola; Gregory Beaver, cello) captivates its audiences throughout the country. During 2011-2012, the Chiara is celebrating twelve seasons of playing together.The Chiara has established itself as among America’s most respected ensembles, lauded for its “highly virtuosic, edge-of-the-seat playing” (The Boston Globe). Read more…

Ataraxia (Ἀταραξία “tranquility”) is a Greek term used by Pyrrho and Epicurus for a lucid state, characterized by freedom from worry or any other preoccupation. In this piece, the aim is to convey a state of tranquility with a very smooth flow of energy coming from the percussionist. In the score, the performer is asked to think in terms of the practice of Tai-Chi, where acceleration is very controlled and energy is somewhat contempt. The electronics on the other hand, are representing the energy, that invisible vitality coming from very soft and controlled movements, this energy is invisible to our eyes but is all around us. The piece is a state of robust tranquility that derives from surrounding oneself with trustworthy and affectionate sound world “worthy of trust”, avoiding directionality and conflict. I am very luck to have Samuel Z. Salomon to premiere this piece, he really understood the piece right from the beginning and his incredible sensitivity and musicianship are truly remarkable.

UTTERANCE
For non-native speakers, utterance is a word that comes with a lot of confusing pronunciations, meanings and usages. This piece is an homage to a friend of mine who spent a long evening conversation explaining to me (and others) what is the meaning of the word Utterance and when it is a appropriate to use it. Is it pronunciation? Is it mention? Is it expression? Is it a style of communication? Is it all of them? Since Frank Wörner comes from Germany and I will soon move to Switzerland I decided to use German and English to convey distance from the absolute understanding of the word Utterance.

The piece is an absurd dialogue between the singer and a second character who is “inside” a single speaker and that will be interrupting and explaining the meaning of Utterance to Frank. The learning experience makes use of singing, speaking, laughing, shouting and what the performer feels at the moment of listening to what the speaker has to say. It has a controlled level of improvisation, making the piece be halfway into a small music theater monologue-dialogue between him and his many selves. An absurdist fiction that was not that far away from that original conversation among friends on the topic of Utterance.

Listen to the recording:

Works by:

Justin Hoke
Sivan Cohen-Elias
Edgar Barroso
Chaya Czernowin
Andreas Dohmen

Date: Wednesday, March 28, 2012
Time: 6:00 pm
Location: CGIS South, Tsai Auditorium, 1730 Cambridge Street, Cambridge
Contact: Marcela Ramos, mvramos@fas.harvard.edu

ARTS@DRCLAS is pleased to announce the second version of its SPRING MUSIC CONCERT SERIES. Each year Latino and Latino American musicians from Harvard and the Boston area are invited to play at The David Rockefeller for Latin American Studies.

Program 1: Composer Andres Ballesteros
Nora and Reshma’s Magical Tandem Bike Ride
Sin Tregua

Program 2: Composer Edgar Barroso
ACU – Electroacoustic piece
Kapsis – For Video and Electronics
Binary Opposition – for video and electronics

Program 3: Trio Clave: Carmen Liliana Marulanda (Traverse flute), Fabián Gallón (Tiple) Arístides Rivas (Violoncello)
Gloria Beatríz – Bambuco de León Cardona
Bochicaneando – Bambuco de Luis Uribe Bueno
El Sanjuanero Huilense by composer Anselmo Durán.
Marielena – Danza de José A. Morales
Carito – Bambuco de Luis Carlos Saboya
El Patasdilo – Pasillo de Carlos Vieco Ortíz

All arrangements by Carmen Liliana Marulanda, except Carito, by Lucas Saboya.

The event is free and open to the public.

Reception to follow.

Conducted by Yordan Kamdzharov

OVER-PROXIMITY
For Flute, Clarinet, Horn, Trombone, One Snare Drum, Two Maracas and Piano.

We are now so close to each other. Social networks have been sharing our lives, ideas, pictures, videos to the world since some years ago. These hyper-connectivity has created the possibility to maintain relationships that otherwise would not be possible, such as long distance relationships and online collaboration. Nonetheless, despite all these advantages, this over-proximity to our lives, has brought a new form of stress to society. What we published in these networks could make somebody else uncomfortable, upset, even miserable, and could be someone that you don’t even know. Your “happiness” expressed in your pictures, could be a trigger of someone else’s depression at the other side of the world. People are now comparing to one another constantly. This piece is an exploration of musical materials that are too close to each other, either rhythmically, energetically, or referring to pitch content. This piece is a personal reflection on the consequences that we produce when we published something on the web. The music material was created thinking in the Over-Proximity idea of having people looking at others people’s lives. A given in today’s world.

Inspired by Slavoj Zizek idea of over-proximity and social networks in the new social revolution yet to come.

“Why are we so traumatized by the neighbor’s over proximity? Habit and custom are the predominant ways in which we maintain a distance towards the “inhuman” neighbor’s intrusive proximity, and we are today effectively witnessing a decline of habits: in our culture of self-exposure and “sincerity”, they no longer provide a screen ensuring our distance from the neighbor.”
Slavoj Zizek “Living in the End Times”

A previous version performed by:
Jennifer Ashe – Soprano
Philipp Stäudlin – Saxophone

“An inward flow” is a piece inspired by “Untitled” by Robert Gober. The piece immediately caught my imagination as an object that is actively hiding a deep secret. It seems to me that the object somehow swallowed the little girl(s), they are sisters. Nonetheless, the intention of the sink is not to hurt the little girl(s), but to confine them into a space to resolve some issues between them, only then can they come out of it. In this piece, the “trapped” character(s) are played by a mezzosoprano. The sink on the other hand is represented by the saxophone and the resonant environment in which this objects are interacting is mainly assigned to the live electronics part. A fragmented/dislocated dialog between these sisters begin, the girl(s) “trapped” in the sink are forced to find a way out by resolving some issues between “them”. Presumably egoistic problems. In the process, they finding a huge conflict in communication and pretty much start a very hostile and hurtful dialogue. Could they stop being so full of themselves and free themselves from the sink?

A new collaboration between designer Yen-Ting Cho and composer Edgar Barroso

The Edge of Our Thinking is an inaugural student-led research conference investigating a range of current perspective in art and design. Professional researchers and research students from across the UK will hold presentations and workshops in a variety of practical and theory-based subject areas, offering the unique opportunity for critical interdisciplinary exchange.

Neue Musik aus Lateinamerika
Germán Romero (* 1966, Mexiko) Cruces (2009) für Violine, Klarinette, Klavier und Kontrabass

Mariano Etkin (* 1943, Argentinien) Tercer estudio para lágrimas (2010) für Horn und Kontrabass

Mesias Maiguashca (* 1938, Ecuador) La Noche Cíclica II (2007) für Violine, Violoncello, Klavier, Marimba und Elektronik

Natalia Solomonoff (* 1968, Argentinien) Tarjo für Kammerensemble

Edgar Barroso (* 1977, Mexiko) Logos (2008) für Klarinette, Fagott, Klavier und Live-Elektronik

Rodolfo Acosta (* 1970, Kolumbien) ein world pour todos (2009) für Nonett Künstler:

Alexander Grebtschenko, Live-Elektronik / Klangregie

Theodore Lotis
Rodrigo Sigal
Carlos López Charles
Francisco Colasanto
Edgar Barroso
Simon Vincent
Mario Lavista

En sus primeros cinco años de existencia, el CMMAS ha podido establecer un programa de fomento a la creación de música nueva con tecnología único en su tipo en América Latina. El personal del Centro ha creado obras como parte de los proyectos personales de composición y experimentación y se han encargado composiciones a artistas nacionales y extranjeros. Todas las obras se han estrenado y tocado en diversos foros. Es el disco “Lustro 01″ el espacio idóneo para celebrar el trabajo del CMMAS en este período y mostrar algunas de las piezas resultado de este trabajo.

El CMMAS pretende explorar nuevas maneras de fomentar la creación así como difundirla, sin embargo este proceso no puede completarse sin la experiencia del escucha, que a través de este CD podrá conocer algunas de las aproximaciones que artistas de México, Grecia, Inglaterra y Argentina han podido concretar.

ein world pour todos
Elisabeth Schneider Stiftung, Wilhelmstr. 17a

Einführung um 19.30 Uhr: Mesias Maiguashca
Germán Romero
(* 1966)
Cruces (2009)
für Violine, Klarinette, Klavier und Kontrabass
Mariano Etkin
(* 1943)
Tercer estudio para lágrimas (2010)
für Horn und Kontrabass
Mesias Maiguashca
(* 1938)
La Noche Cíclica II (2007)
für Violine, Violoncello, Klavier, Marimba und Elektronik
Natalia Solomonoff
(* 1968)
Tarjo (2011)
für Ensemble
Edgar Barroso
(* 1977)
Logos (2008)
für Klarinette, Fagott, Klavier und Live-Elektronik
Rodolfo Acosta
(* 1970)
ein world pour todos (2009)
für Nonett

Presenting musicians from Basel, Brussels, Lausanne & Tel Aviv, Ensemble Nikel is a group of five musicians displaying a new contemporary chamber music sound in which the obstacle of melting electric and acoustic instruments into a unified musical organism is being constantly tackled.

Nikel ensemble is continuously aiming for the quest of exploring its audio spectral artistic possibilities focusing on instruments mainly evolving in the 20th century, Presenting an ongoing subscribers series in Tel Aviv & Haifa, Initiating new conceptual projects with various partners, soloists and ensembles and also in cooperation with composer Yuval Shaked, lead a lecture series introducing various angels and topics related with Contemporary Music aesthetics. Its concert series in Israel has presented great amount of world premiere performances to works by world known established composers such as Chaya Czernowin, Clemens Gadenstätter, Philippe Hurel, Helmut Oehring or by such young prominent composers as Raphaël Cendo, Sivan Cohen Elias, Eduardo Moguillansky, Marco Momi ,Stefan Prins and Michael Wertmüller.

Founded in 2006 by Yaron Deutsch and Gan Lev, the ensemble has already been invited to play in prestigious contemporary music festivals such as: Wien Modern, Donauecshinger Musiktage, Ultraschall (Berlin), Bang on a Can (New York), International Summer Course for New Music Darmstadt, Klangspuren (Schwaz) and Warsaw Autumn to name a few.

Ensemble Nikel members are: Vincent Daoud – Saxophones // Yaron Deutsch – Electric Guitar, Artistic Director // Tom De Cock – Percussion // Reto Staub – Piano // Eran Borovich – Double Bass

“Binary Opposition” for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

Estimados amigos, ya está publicado en esta web el programa general del I ciclo de videomusica y visual music, sección que ha sido nueva en este año 2011 dentro de la programación general del XVIII Festival Internacional de Música Electroacústica “Punto de Encuentro” de la AMEE en la sede de Valencia.

Programa del día:

BLINK
Rodrigo Sigal / música Ricardo Giraldo / imágenes Mexico 2003 (dur. 4:30)
INTROIT
Richard Johnson / música / imágenes EE. UU. 2010 (dur. 5:50)
FIDEAL
Marcela Pavia / música / imágenes Leopoldo Saracino / guitarra Studio “Girasole”; Andrea Tagliabue / fotografía “Dedicato ed ispirato a Fideal”: LeoNilde Carabba Italia (dur. 6:40)
PHARE AWAY
Julie Mansion-Vaquié / música Krunoslav Ptitchar / imágenes Francia 2011 (dur. 7:10)
BINARY OPPOSITION
Edgar Barroso / música / imágenes Mexico – EE.UU. 2010 (dur. 9:30)
OPTICS
Vytautas V. Jurgutis / música / imágenes / producción Lituania 2005 (dur. 16:43)
MILESTONES
Jaime Esteve / música / imágenes España (dur. 4:19)
ROMPE CALANDA ROMPE
Alejandra Hernández / música / imágenes Mexico 2008 (dur. 10:10)
MEDITERRANEAN RIOTS COLORS
Ivan Elezovic / música / imágenes EE.UU. 2005 (dur. 07:20)
BREAKWATER
Panayotis A. Kokoras / música Dimitris Vourdoglou / imágenes Grecia 2008 (dur. 8:31)

Duality is one of the strongest concepts in life on this planet. The male-female dichotomy, Presence – Absence, Rational – Emotional, etc. are all concepts that help us have a starting point to make sense out of the rather infinite possibilities that emerge from a deceiving simple dual . Binary opposition is a piece that explores the interaction of stable and unstable materials that interact producing a set of possibilities that goes beyond the limited nature of their own. They are all affected by each other, and are also “invaded” by a disruptive characteristic of the frame space that speeds up the materials, similar to wind that provokes acceleration. Metaphorically: The actual weather of the frame.

An-Inward-Flow-Live at the Sackler Museum – Harvard University by edgarbarroso_2

Performed by:
Jennifer Ashe – Soprano
Philipp Stäudlin – Saxophone
Edgar Barroso – Live Electronics – Composition

“An inward flow” is a piece inspired by “Untitled” by Robert Gober. The piece immediately caught my imagination as an object that is actively hiding a deep secret. It seems to me that the object somehow swallowed the little girl(s), they are sisters. Nonetheless, the intention of the sink is not to hurt the little girl(s), but to confine them into a space to resolve some issues between them, only then can they come out of it. In this piece, the “trapped” character(s) are played by a mezzosoprano. The sink on the other hand is represented by the saxophone and the resonant environment in which this objects are interacting is mainly assigned to the live electronics part. A fragmented/dislocated dialog between these sisters begin, the girl(s) “trapped” in the sink are forced to find a way out by resolving some issues between “them”. Presumably egoistic problems. In the process, they finding a huge conflict in communication and pretty much start a very hostile and hurtful dialogue. Could they stop being so full of themselves and free themselves from the sink?

At the Tokyo International Film Festival

PDF of the article – “Sound and Vision” by Joanna Grossman

First Italian earning an accordion Diploma at a State Conservatorio, Corrado Rojac is considered one of the most important italian accordionists. In addiction to an intense soloist and chamber activity, this eclectic artist is engaged to the development of contemporary accordion’s literature, working with many composers and offering first performances of many pieces.
In this concert, he performs three unpublished pieces of young composers:

Gabriele Vanoni – Corde di recita
Trevor Baĉa – L’imaginaire
Edgar Barroso – Metric expansion of space

Limemusic is an offspring of Associazione Culturale Limen, founded in 1991, the brainchild of twenty years of musical research. What at the beginning was an experimental exploration, today it is a solid reality, aligned with the most advanced communication standards. Limenmusic main focus is the production of cultural contents, with classical music at the forefront and jazz music in second place. Music is the focal point from which departs the interest for every other art form – literature, poetry, painting/visual arts, architecture, sculpture, and performing arts. Our audio/video projects are aimed at different platforms (web tv, traditional television, digital terrestrial, satellite, mobile, new media), and the whole production system is completely ready for High Definition video. Thanks to a revolutionary model designed in-house, Limenmusic today realizes more than 100 productions (concerts, interviews, talks, documentaries and so on) per year. In 2007 Limenmusic launched an highly evolved Web tv (www.limenmusic.com), with a full schedule, accessible live or on demand, with two thematic channels: classical and jazz.

The Largest Film Festival in Asia

The one and only FIAPF-accredited international film festival in Japan

This year marks the 24th edition of Tokyo International Film Festival (TIFF). As the only Japanese film festival accredited by the International Federation of Film Producers Associations (FIAPF)*1, TIFF has played an integral role in Japan’s film industry and cultural scene since its establishment in 1985. TIFF aspires to be recognized as one of the four major film festivals in the world – in the same league as Cannes, Venice and Berlin, which now stand at the summit of the more than 2,600 international film celebrations.

A collection of excellent works from around the world for exclusive screenings, nominated for the “Tokyo Sakura Grand Prix”

Over the nine days of the Festival, films from a variety of genres will be shown in several intriguing programs: Competition, which selects the “Tokyo Sakura Grand Prix” from a carefully chosen ensemble of premiere films presented by both talented first-timers and recognized directors; Special Screenings, which premieres highly entertaining films prior to their public release in Japan; Winds of Asia – Middle East, which boasts the largest number of films and audiences in all the TIFF screenings; Japanese Eyes, which showcases a broad range of Japanese films for worldwide audiences; and natural TIFF highlighting films carrying underlying messages that place emphasis on “the coexistence of humans and nature.”

Se denomina plasma o plasmático a un gas que se compone de partí­culas cargadas de iones libres y cuya dinámica presenta efectos colectivos dominados por interacciones electromagnéticas de largo alcance entre las mismas. Se conoce como un estado de agregación de la materia con caracterí­sticas propias, diferenciándolo de este modo del estado gaseoso, en el que no existen efectos colectivos importantes. Es también llamado el cuarto estado de la materia. Los átomos en este estado se mueven libremente. Cuanto más alta es la temperatura más rápido se mueven los átomos en el gas y en el momento de colisionar la velocidad es tan alta que se produce un desprendimiento de electrones. En “Plasmático” se busca representar esta dinámica de efectos colectivos. La partitura está escrita de manera que cada instrumento de cuerda es visto como una partí­cula que se mueve libremente como los átomos y que dependiendo de su evolución algunos átomos se mueven más rápido que otros generando nubes de energí­a que se condensan. Hacia el final el estado plasmático se debilita y el efecto colectivo domina el espectro sonoro. Es una narración de la evolución de un material sonoro volátil en uno concreto y contrapuntísitico

Listening is maybe one of the best acts of engaging with the world. In fact sound unsettles the visual stability and involves us in the production of an invisible world. This sonic life pulls our auditory imagination with the objective of finding the relations between us and the environment.
A life composed and surrounded by soundscapes that define our timespace.

Soundscapes, a traditional program of electronic music concerts at KAPU in Linz, extends it sound world and proposes an exhibition of sound works surrounded by concerts. International sound artists meet local compositions and the audience in a multichannel listening room – the “Sonorous-Horreum”. Sounds and noises that make us doubt in the darkness at the same time we compose the landscape only by listening.

We hope this Soundscapes will become a meeting point for all sound enthusiastics.

Clemens Pichler y Enrique Tomás [curators]

The 2nd Annual International Meeting of Music and Sound Arts (EIMAS 2011) will join researchers, musicologists, performers, composers and sound artists from Brazil and abroad at a Brazilian State university (Universidade Federal de Juiz de Fora) from September 13 to 16, 2011, in order to create a new space for exchange around the practice and theory of today’s music and sound art.

All of the events during Eimas 2011 – lectures, roundtables, concerts and workshops -, which display and debate the use of new, and not so new, techniques and technologies in music (extended instrumental techniques, electroacoustic, mixed, CAC) and sound arts (installations, web concerts, interactive systems), will be open to the public and free of charge.

All of the selected papers will also be available at no cost through our online periodical (“Revista Eimas 2011″), to be issued by December 2011.

Program:
Ligeti: Pièce Électronique Nr. 3 (1958/96)
Wiggen: Mass (1970)
Chowning: Turenas (1972)
Brün: auf und ab und zu (1978)
Risset: Songes (1979)
Wishart: vox 5 (1986)
Nachtmann: Tafelmusik (1999)
Tutschku: Object – obstacle (2004)
Barroso: ODD (2006)
Kim: Welcome to Hasla (2007)

ODD by Edgar Barroso/ For 5.1 Electroacoustic Piece by edgarbarroso_2

Konzerte mit “leblosen” Lautsprechern stellen eine große
Herausforderung an die Wahrnehmung dar.
Obwohl sich kein Lautsprecher bewegt, befinden wir uns in einer
bewegten Klanglandschaft voller Geheimnisse,
Rätsel, Paradigmen, Metamorphosen, Symbolen. Alle präsentierten
Komponisten leb(t)en in der akademischen Welt
- aber sie lassen uns teilhaben an einem merkwürdigen Spiel: wie sich die Kunst von der Wissenschaft befreit.
(Folkmar Hein)

Guillermo Anzorena was born in Mendoza, Argentina. He studied Voice at the Conservatory of Music at the National University of Cuyo. In 1991, he was a prize winner in the vocal competition “Young Voices” in Buenos Aires. In 1993, he was named “Young Talent of the Year” by the Richard Wagner Society. Various scholarships allowed him to work intensively with German Lied in Argentina.

Since 1994, Guillermo Anzorena has lived in Karlsruhe, where he completed his postgraduate studies at the Musikhochschule Conservatory of Music as well as in the Opera School. His engagements as an opera singer have led him to the Konstanz Opera Summer and the Young Opera Stuttgart. CD and radio recordings, with the SWR and the Young Opera Stuttgart among others, accompany his solo career. He has recorded several song cycles by Carlos Guastavino and performs works by contemporary Argentinian composers in international concerts as a member of the Ostinato Foundation.

Guillermo Anzorena has been a member of the Neue Vocalsolisten Stuttgart since 2000. Numerous concert tours with the ensemble have taken him all over the world. He sang the main role in a NVS world premiere production of the opera Si by Roberto Andreoni in Bergamo, Italy. Since October 2000 he has been an instructor of Voice at the Hochschule für Kirchenmusik in Tübingen.

Dear audience,

I am happy to present you with the 5th edition of the Tzlil Meudcan Festival and Summer Course due to take place in Israel from June 29th to July 9th 2011.

With this edition we are much honored to host musicians from Ensemble Ictus, Ensemble musikFabrik, Ensemble Recherche, Clarinet Duo Stump-Linshalm, Ensemble Nadar & Ensemble Nikel together with composers Michael Beil, Pierluigi Billone, Chaya Czernowin & Steven Takasugi among others.

By default, as Tzlil Meudcan bears within its structure a summer course platform, the program has the tendency of slipping into eclectic outbursts of various, even contradicting, aesthetics. This is actually an encouraged result on our behalf and together with it, as “stabilizers”, are placed artistic anchors, giving a structural foundation to the program, showcasing what we believe to be interesting, relevant and exciting for our audience to experience.

Mostly, these stabilizing reference points are reflected in each year’s choice of Composer in Focus. This edition it will be the Italian composer Pierluigi Billone who will attend the festival as our guest, having a number of works present in the program, giving a presentation of his music, participating in an open talk moderated by composer Yuval Shaked, who will also give a lecture titled, “Ritualistic Tactility” addressing the works of Mr. Billone.

Closing it all down is the emphasis put on performances of works from the passing decade by both established and young prominent composers, with the highlight of 8 new works written by the 8 chosen composers who were invited to take part at the summer course program led by composers, Chaya Czernowin & Steven Takasugi.

All works were incorporated in the festival program and will be performed by musicians of the above mentioned ensembles. These musicians throughout the summer course period were also teaching performance students who are also taking part at the festival, presenting various daring and challenging repertoire by some of the canonic figures of our current time.

We happily invite you to view below the festival’s program and more important to take time and join us in Tel Aviv for our days of festivity.

Sincerely yours,

Yaron Deutsch

Director,
Tzlil Meudcan – International Festival & Summer Course for Contemporary Music

Grafimuse RESULTS

The winners are:

Juan Manual Abras (Argentina)
Ann-Helena Schlueter (Germany)
Edgar Baroso (Mexico)
Martin Daske (Germany)
Davide Remigio (Italy)
Marco de Biasi (Italy)
Christian Doepke (Germany)
Manfred Gehann (Germany)
Giacometta Marrone d’Alberti (Italy)
Maciej Jarczynski (Poland)
Barbara Marcinkowska (Poland-France)
Anna Mikhailova (Russia)
Volker Niehusmann (Germany)
Paola Fasolo (Italy)
Sylvia Hellstern (Germany)
Michaela von Pilsach (Germany)
Yaniv Segal (USA)
Zach Sheets (USA)

On June 22, 2011, the winning works will be printed (on A3 sized paper), and will be exhibited in the following places:

Chieti, Fermo, Kraków, Pescara, Sambuceto, Santos, Sofia, and Warsaw.

During this exhibition, concerts/artistic happenings (instrumental, dance, vocal, and movement) will take place using the winning entries. 
The works will be treated as sources of artistic inspiration for improvisation, as well as graphic scores. International mass media sources will be notified of concert information.

Lunfarda on Video.

The Harvard Merit Fellowships and Graduate Society Term Time Awards for Dissertation Research are now similar in terms of eligibility requirements and stipend; they are available to outstanding GSAS students in all fields, including GSAS departments in the natural sciences. These fellowships are normally to be held in the fourth or fifth year, or earlier, and are for the purpose of allowing the students to devote a greater portion of their time to research, fieldwork,
and writing than would otherwise be possible. Students must have passed Generals and have an approved dissertation prospectus at the time of nomination, or be scheduled to have approval by the time the award begins (the award otherwise will be forfeited if approval does not materialize).

“Binary Opposition” for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

Since 1974 the International Computer Music Conference has been the major international forum for the presentation of the full range of outcomes from technical and musical research, both musical and theoretical, related to the use of computers in music. This annual conference regularly travels the globe, with recent conferences in the Americas, Europe and Asia. This year we welcome the conference to England for the first time.

The 2011 International Computer Music Conference will be hosted by CeReNeM, the Centre for Research in New Music, at the University of Huddersfield, England. As always the conference welcomes the submission of a wide range of papers and music, covering all aspects of technical, creative and aesthetic issues around the use of computers in music.

The theme of the 2011 conference is innovation : interaction : imagination emphasizing the importance for our field of innovative technical developments, imaginative responses to new situations and, above all, the creative interaction of the technical and the musical. Submissions emphasising this theme are particularly welcomed and, following from last year, ICMC 2011 will again include a piece plus paper category in which it will be possible for such links to be made explicit. The conference will also be programmed to juxtapose paper sessions on particular topics with concerts in which related ideas inform musical works.

The International Contemporary Ensemble (ICE) is dedicated to reshaping the way music is created and experienced. With a flexible roster of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and pursuing groundbreaking strategies for audience engagement. In an era of radical change, ICE redefines concert music as it brings together new work and new listeners.

Since its founding in 2001, ICE has premiered over 500 compositions, the bulk of them by emerging composers, in venues ranging from New York’s Lincoln Center and Chicago’s Museum of Contemporary Art to galleries, bars, clubs, and schools around the world. The ensemble has released acclaimed albums on the Bridge, Naxos, Tzadik and New Focus labels, with forthcoming releases on Nonesuch, Kairos and Mode.

With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This new program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab projects will be featured in more than twenty performances each season and documented online through DigitICE, a new online venue.

ICE’s commitment to build a diverse, engaged audience for the music of our time has inspired The Listening Room, a new educational initiative targeting public schools whose music programs have been cut in the recent recession. Using team-based composition and graphic notation, ICE musicians lead students in the creation of new musical works, nurturing collaborative creative skills and building an appreciation for musical experimentation.

Seda Röder website

“In this episode I would like to invite you to my upcoming concert with Beethoven’s 5th piano concerto. The concert is taking place on Friday, April 15th at Harvard’s Paine Hall. I will also talk a little bit about what makes this concert so special.

Those of you who can make it to the concert on Friday will hear something very extraordinary. I will be improvising a contemporary cadenza to the first movement of Beethoven’s 5th concerto using a live-electronics framework by composer Edgar Barroso.

In the concert on Friday I will insert an electro-acoustic improvisation into the middle of Beethoven’s notated cadenza demonstrating how different elements from within the concerto are perfectly suitable for such an experiment.”

En esta conferencia-taller se mostrarán algunas estrategias de colaboración basadas en el intercambio de ideas y conceptos entre distintas disciplinas como una de las alternativas más viables para enfrentar el avance vertiginoso y los retos en general de la sociedad contemporánea. La conferencia está basada en una serie de reflexiones sobre los principios evolutivos del funcionamiento del cerebro y sus mecanismos colaborativos de aprendizaje. La importancia de la definición y tratamiento del objeto de conocimiento intelectual, creativo y multiplicación de nodos que puedan ser usados por otras áreas de conocimiento. Se introducirá el rol del otro (este concepto será explicado en la charla) como medio catalizador de recepción de beneficios así como para resolver problemas usando las redes neuronales únicas de personas provenientes de distintos campos profesionales para lograr metas comunes. Se tocará el tema del aislamiento intelectual, social y humano, como problemática contemporánea y se mostrarán ejemplos de instituciones que han encontrado en la colaboración un espacio permanente de creación, generación de conocimiento y bienestar social y económico. Se introducirá el conceptos sinécticos para facilitar y concretar la comunicación y metas de colaboración entre distintas áreas de conocimiento. Finalmente se hará énfasis en la traslación de ideas como un método creativo permanente y la importancia del propósito social que involucra a todas las áreas de conocimiento.

Patrocinadores:

Program for the Sound Art Festival

La Fundación Destellos se complace en anunciar su primer ciclo de Arte Sonoro “Imagen & Resonancia”. Con esta iniciativa la Fundación se propone abrir un nuevo espacio destinado a hacer conocer las obras de artistas sonoros y visuales de las diversas vertientes contemporáneas.

La Fundación Destellos se complace en anunciar su primer ciclo de Arte Sonoro “Imagen & Resonancia”. Con esta iniciativa la Fundación se propone abrir un nuevo espacio destinado a hacer conocer las obras de artistas sonoros y visuales de las diversas vertientes contemporáneas.

Corrado Rojac Official Website

During three days Edgar Barroso will conduct a talk and a workshop about the benefits of interdisciplinary collaboration and the practice of collaboration techniques among undergraduate students.

March 18 – 22. León Guanajuato – Mexico

The first meeting of the Interdisciplinary Collaboration Group at Harvard. Harvard and MIT graduate students in Literature, Music, Medicine, MBA, Kennedy School of Government, Education, Engineering and Public Health. Conforming interdisciplinary groups committed to society.

Moving Mexico Forward – Harvard University Mexican Association

Students from different universities in the Boston/Cambridge are focusing on developing responses to the challenges that Mexico is facing. We consider that the next couple of years are crucial for the success (or failure) of our country.

México, Adelante will be a series of events during 2011 including talks, workshops and round tables sometimes with guest speakers from our country, some others with students from the different schools. The main idea of these events is to discuss our challenges, but most important to discuss our role and proposals to address them.

• LUNES 21
Iniciamos con la oportunidad de conocer, a través de un diálogo, la perspectiva de una mujer que ha tenido un rol trascendente en la política mexicana durante los últimos 10 años, JOSEFINA VÁZQUEZ MOTA, Coordinadora del GPPAN en la Cámara de Diputados, ex Secretaria de Educación Pública y de Desarrollo Social.
[10:30 am, salón 110, Edificio Griswold, Harvard Law School]

• MIÉRCOLES 23
Charla sobre mecanismos de colaboración interdisciplinaria con EDGAR BARROSO, estudiante mexicano del PhD en Composición Musical.
[6:00 pm, salón S153, CGIS South (Centro Rockefeller), 1730 Cambridge St.]

• VIERNES 25
Diálogo con JOSÉ ÁNGEL ÁVILA, Secretario de Gobierno del Distrito Federal. Ven y conoce los proyectos más importantes de nuestra capital y ofrecer tu perspectiva sobre cómo enfrentar los retos que enfrenta la ciudad.
[12:00pm, salón Taubman 275, Harvard Kennedy School]

“Engrama” for String Quartet by Edgar Barroso / The Diotima Quartet from Edgar Barroso on Vimeo.

Engram (for string quartet) is the first part of a modular trilogy (with a total of 45 minutes) that explores three concepts that are related to the sense of hearing, being such, memory, translation and balance in relation to the increased violence in Mexico in the last four years. Each of these parts, in addition to form this trilogy- may be submitted as separate pieces where each part will consist of different instrumentation. Engram, is a hypothetical means by which memory traces are stored. Traumatic events such as kidnapping and robbery with violence marked the lives of those affected. That first engram, or change that happens in our brain when we realized that we are subject of a violent act, and how memory at that very first moment leads to sequels and traumatic memories is the motivations to write this piece. For the construction of engram, I heard and read several interviews of people who have been kidnapped and selected words or phrases that were common in all of them. Expressions like: “… it all happened very fast” or “I felt like I was drowning of impotence” were key to generate the material of the work in which acceleration processes and the use of the performers actual breathing is used as an extension of the instrument. These elements are fundamental to understand the first part of this trilogy. This piece is in its turn, the first of a series of works related to the phenomenon of violence in Mexico.

ENGRAMA by edgarbarroso_2

QUATUOR DIOTIMA, founded by graduates of the Paris and Lyon Conservatoires, was awarded first prize at the FNAPEC Competition, Paris in 1999, and the Contemporary Music Prize at the London String Quartet Competition in 2000, in which year, at the invitation of ProQuartet, they began a two-year residency at the Centre Européen de Musique de Chambre, Fontainebleau.

From the outset Diotima have been performing internationally; they have appeared at many of the major concert venues and music festivals across Europe including L’Auditorium du Louvre, Berlin Philharmonie, Konzerthaus Berlin, Festival ECLAT Stuttgart, Ars Musica Brussels, Huddersfield Festival, Archipel Geneva, Klangspuren Schwaz, MITO Settembre Musica, Villa Medici Rome, Casa da Musica Porto, CDMC Madrid and the Athens Festival. Concert tours have taken them further afield, to Japan, USA, Mexico, Central and South America, China and Korea.

Diotima’s first CD of works by Lachenmann and Nono received the Young Talents prize at the award ceremony ‘Diapason d’or de l’année’. Their recent CD of Janacek (Diapason d’or, November 08) comprises the two quartets played from new critical editions and the première recording of the composer’s viola d’amore version of Intimate Letters. Their discography also includes quartets by Lucien Durosoir (‘Choc’ from Le Monde de la Musique) and Schoenberg’s virtuosic concerto (after Handel) for quartet and orchestra, to which they will soon add works by Alberto Posadas and Chaya Czernowin, and a ‘Second Viennese School’ portrait.

Binary Opposition for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

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Duality is one of the strongest concepts in life on this planet. The male-female dichotomy, Presence – Absence, Rational – Emotional, etc. are all concepts that help us have a starting point to make sense out of the rather infinite possibilities that emerge from a deceiving simple dual . Binary opposition is a piece that explores the interaction of stable and unstable materials that interact producing a set of possibilities that goes beyond the limited nature of their own. They are all affected by each other, and are also “invaded” by a disruptive characteristic of the frame space that speeds up the materials, similar to wind that provokes acceleration. Metaphorically: The actual weather of the frame.
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REVIEW BY DAVID DOMINIQUE

“…Another noteworthy effort came from Harvard PhD candidate Edgar Barroso’s Binary Opposition (2010) for video and electronics. The piece began with the mysterious, vaguely ominous whispering of multiple speakers. In the video, a stark white stripe appeared across the screen and was intermittently invaded by specks and blotches of black. As this introduction ended, the sounds and images became more abstract. Sustained sections of foreboding repose were contrasted with short moments of intense agitation. Amid lacerating shards of noise, lifelike sounds were perceived in the distance, including the chirps of birds and the original whispering. At its climax, Binary Opposition reversed the pattern, sustaining the agitation and intermittently contrasting it with less saturated moments. A dark, contemplative stalking, just beneath the surface, underpinned this increased activity.

In conversation after the concert, Barroso revealed that the pathos in his recent works has been a reaction to the intense escalation of violence in his native Mexico. In a lesser composer’s hands, this profound angst might be rendered as avalanches of discordance, but Binary Opposition succeeds through its balance of contemplation and visceral anxiety. As Barroso explained in the program notes, dualities are “concepts that help us have a starting point to make sense out of the infinite possibilities that emerge from a deceiving simple dual.” Binary Opposition succeeds as a complex portrait of unease…”

David Dominique

The SCI Journal of Music Scores is an anthology of music by members of the Society and is published by European American Music. It is sold mostly to music libraries throughout the United States by subscription. There have been 37 volumes of the SCI Journal of Music Scores. The editor of this edition is composer: Bruce Taub

ECHOIC – For Violin, Gamelan and Live Electronics (Max/MSP) by Edgar Barroso from Edgar Barroso on Vimeo.

The Society of Composers, Inc. is a professional society dedicated to the promotion of composition, performance, understanding and dissemination of new and contemporary music. Members include composers and performers both in and outside of academia interested in addressing concerns for national and regional support of compositional activities. The organizational body of the Society is comprised of a National Council, co-chairs who represent regional activities, and the Executive Committee.

CO-REFERENCIAS. Arte y Arquitectura situadas. pretende poner sobre la mesa el tema de discusión de la existencia de aquellos marcos referenciales que pareciera separan históricamente a la arquitectura y al arte, con el fin de ampliar o reducir los criterios que separan o acercan al arte de la Arquitectura, sin recaer en los desgastados lugares comunes de discusión entre ambas disciplinas, tema central del CiaBX 2010, Coloquio Internacional de Arquitectura Bajío 2010 al cual hacemos la más atenta invitación a participar en el congreso deleitándonos con tu música. El evento se celebrará los próximos 18, 19 y 20 de Octubre del 2010, en la ciudad de León, Guanajuato, México. Organizado por el Consejo de Alumnos de la Facultad de Arquitectura de la Universidad de la Salle Bajío, el Coloquio de Arquitectura se nutren de personalidades como Usted, que gracias a su sobresaliente labor han logrado transformar el concepto de la Arquitectura y el arte.

This program supports young artists to create pieces of art during a year period. It also brings funding, tutorship with renowned artists and organizes meetings among artists to promote interdisciplinary projects.

Zero Film Festival is the first and only festival EXCLUSIVE to self financed filmmakers and the authentically independent films they create.
ZFF is a New York and Los Angeles based independent not-for-profit organization firmly committed to supporting under-represented filmmakers and screening the world’s best self-financed films for cinema lovers everywhere. ZFF focuses on community, inclusivity and good times on planet Earth.

Kapsis Website – A collaboration between composer Edgar Barroso and designer Yen-Ting Cho.

A collaboration between composer Edgar Barroso and designer Yen-Ting Cho, Kapsis is a 7 minute piece for flute, electro-acoustic music, and video art, which will be part of their Nahua operetta Zazanilli (which in Nahuatl means both “story” and “enigma”.) It will portray the mesmerizing Nahua myth of a young girl who becomes a starfish. The goal is to represent the unrepresented, to provide though structured musical figuration an understanding of invisible forces and principles that regulated not only the myths, riddles and proverbs of ancient Aztecs but also the pulse of contemporary indigenous politics. This piece is part of a Inter-media operetta.

Curado por Manuel Rocha

Entrevista-Edgar Barroso-Radio-Universidad-Guanajuato by edgarbarroso

PRENSA: MILENIO

PRENSA: MILENIO (Versión para imprimir)

TRAYECTA

Martes 22 de junio – 8pm
— Entrada Libre —
Avenida Universidad #304 / León, Gto.

Somos un grupo de profesionales interesadas en construir escenarios alternativos, que generen ambientes que impacten en la salud psicológica, todo desde un ámbito creativo.

AGENCIA CACAHUATE

Sábado 3 de Julio – 9pm
— Entrada Libre —
República #138 Centro (codito)
Reservaciones al 329 53 63

Hoy en día Cacahaute sigue trabajando por y para la cultura estatal expandiendose y formando varias unidades de trabajo para un mejor desempeño como lo son: Agencia Cacahuate, quien se encarga de la gestión cultural apoyando y generando distitnos proyectos académicos yde producción artística. Cacahuate café, que ofrece un espacio en el centro de la ciuddad de León Guanajuato que invita a la creación. Cacahaute teatro que produce espectaculos escénicos con distintos gurpos en la localidad. Cacahuate films, que apoya producciones de cine locales.

WINNERS LIST

The Los Angeles Movie Awards mission is to celebrate Independent Motion Picture and Literary Arts by providing a platform for filmmakers and writers to have an opportunity to be awarded for their work.

No-Iss-Pa by Edgar Barroso, performed by Beta Collide / Oregon Bach Festival by edgarbarroso_2

BETA COLLIDE is a leading edge new music ensemble based in Oregon. Directed by Molly Barth (formerly of eighth blackbird) and Brian McWhorter (of Meridian Arts Ensemble), BETA COLLIDE focuses on the collision of musical art forms – from new complexity to ambient; from low-brow to high-brow; from radically extended technique to site-specific improvisation; from popular to the academy. Described as “sensational” by NPR’s music critic Tom Manoff, the ensemble frequently performs with guests that stretch the concert experience [Roger Hayes painting live on large-format canvasses - Stephen Vitiello creating graphic scores for musical realization - Amit Goswami speaking about his new research in quantum physics and its relationship with consciousness - Jeffrey Stolet performing his own electronic music with Wii controllers and flashlights]. The 2008-09 season features a stunning array of virtuosic soloists and chamber musicians such as bass-baritone Nicholas Isherwood, pianist David Riley, violinist Lisa McWhorter, and percussionist/sommelier Phillip Patti.

The Derek Bok Center for Teaching and Learning awards the Harvard University Certificate of Distinction in Teaching to teaching fellows, teaching assistants, and course assistants, and the Harvard University Certificate of Teaching Excellence to lecturers and preceptors.

HGNM is comprised of Harvard University Music Department graduate students, including composers from the composition, theory, musicology and ethnomusicology programs. The primary purpose of HGNM is to perform works by its membership, to foster a sense of community among the resident composers and to develop musical and professional relationships beyond the group.