The Guitar as a Laboratory for Experimentation

Visualizações: 157

Autores

  • Camilo A. Mendez San Juan Hong Kong Baptist University

DOI:

https://doi.org/10.33871/23179937.2020.8.3.1.10

Palavras-chave:

electric guitar, prepared instruments, extended techniques, notation, compositional techniques

Resumo

In this article, I will discuss the role of the electric guitar in the conception, development and composition of three recent works: Recessional Motion, Flexidra IV, and Volpi/Formentera. In Recessional Motion, I will address compositional, technical and notational issues to explain the underlying creative process. In Flexidra IV, all the pre-compositional materials were the result of extensive experimentation sessions with electric guitars, pedals and found objects that subsequently were extrapolated to other instruments to generate the instrumental textures. In Volpi/Formentera, the electric guitar is at the centre of the compositional processes and all the musical parameters orbit around it. I will examine in detail how the different preparations and instrumental textures were derived from my own "˜exploratory sessions' presenting possible solutions to notate the necessary actions to produce the sounds in the guitar.

Downloads

Não há dados estatísticos.

Biografia do Autor

Camilo A. Mendez San Juan, Hong Kong Baptist University

Camilo Mendez is a composer of acoustic concert music. He conceives his works as compositional cycles; series of pieces orbiting around the same musical ideas, but written for different instrumental combinations. He completed a Doctorate and a Master's in advanced composition at the Royal College of Music in London. He has also studied privately with Rebecca Saunders and Pierluigi Billone. In 2017, Mendez was the Rieman and Baketel Fellow for Music at the Radcliffe Institute for Advanced Study at Harvard University. His music has been performed by ensembles and soloists who specialize in contemporary concert music and has been featured in such international festivals as Festival Internacional Cervantino, the International Summer Course for New Music Darmstadt, June in Buffalo, Klasik Keyifler, the Mallorca Saxophone Festival, and Next Generation Donaueschingen. In 2009, he was awarded the Colombian national prize in composition for his work Tropical Textures VI. He has held residencies at the Banff Centre for Arts and Creativity and Willapa Bay AiR. Dr. Camilo Mendez, joined the Department of Music at HKBU as Assistant Professor in 2018. ORCID: https://orcid.org/0000-0002-5368-7489

Referências

ACOSTA, Rodolfo. Archipiélagos de la Esperanza para viola y violonchelo. Bogotá: Matiz Rangel editores, 2006. Score.

ALBERMAN, David. Abnormal Playing Techniques in the String Quartets of Helmut

Lachenmann. Contemporary Music Review. London, Vol. 24, No. 1, p. 39 – 51, 2005.

CHILDERS, Tim. Vera Rubin: The Astronomer Who Brought Dark Matter to Light, Space, June 11 2019. Available at https://www.space.com/vera-rubin.html. Accessed on 6 Aug. 2020.

GARCíA, Marcela. Estructuralismo y tendencias posmodernas en la obra "Diálogo en simetrí­as móviles" para piano preparado y clavicémbalo de la compositora contemporánea colombiana Catalina Peralta, Revista A Contratiempo, No. 13, 2009.

HUBBLE, Edwin. The Realm of Nebulae. New York: Dover Publications, 1953.

KAKA, Askander. Calculation Methods of the Length, Area and Volume of Iterated Function System Fractals. Journal of Koya University. No. 26, p. 149 – 158, 2013.

LEYVA, Camilo, et al. Feliza Bursztyn: Elogio de la Chatarra. Bogotá: Museo Nacional de Colombia, 2009.

MENDEZ, Camilo. Texts, Numerical Sequences and Patterns in my Recent Music. 2016.

Thesis (Doctoral, Music composition). Royal College of Music, London.

MENDEZ, Camilo. Fragmentos Cardinales V: Recessional Motion. Self-published, 2013. Score.

MENDEZ, Camilo. BURSZTYN VII: Flexidra IV. Self-published. 2015. Score.

MENDEZ, Camilo. Archipelago Sierpinski: Volpi/Formentera. Self-published. 2017. Score.

McDANIEL TARVER, Gina. The Art of Feliza Bursztyn: Confronting Cultural Hegemony, Artelogie, No 5, p. 1 – 20, 2013. Available at http://cral.in2p3.fr/artelogie/spip.php?article273. Accessed on 30 jul. 2020.

NOGUERA, Carolina. Quattuor Verba para cuarteto de cuerdas. Bogotá: self-published, 2006. Score.

PANEK, Richard. The 4% Universe. Oxford: Oneworld Publications, 2011.

PARASKEVAíDIS, Graciela. Doce móviles de Jacqueline Nova: una aproximación analí­tica. Bogotá: Latinoamérica Música, 2000. Available at http://www.latinoamerica-musica.net/obras/nova/moviles.html. Accessed on: 3 aug. 2019.

PERALTA, Catalina. Diálogo en Simetrias Móviles para clavicémbalo y piano. Revista A Contratiempo No. 13, 2009. Score.

RECER, Paul. Phantoms in the Machine of Universe. Los Angeles Times, 1999. Available at

http://articles.latimes.com/1999/jan/17/news/mn-64222. Accessed on 13 jul. 2020.

RENDÓN, Guillermo. Trópico de Capricornio para violonchelo solo, Bogotá: Matiz Rangel editores, 2005. Score.

SKUSE, Ben. Jocelyn Bell Burnell: Pulsar Pioneer, Sky and Telescope, 2019. Available at https://skyandtelescope.org/astronomy-resources/famous-astronomers/jocelyn-bell-burnell-pulsar-pioneer/. Accessed on: 17 aug. 2020.

TRABA, Marta. Elogio de la Locura: Feliza Bursztyn/Alejandro Obregón, Bogotá: Editorial Universidad Nacional de Colombia, 1986.

Downloads

Publicado

15.12.2020

Como Citar

San Juan, C. A. M. (2020). The Guitar as a Laboratory for Experimentation. Revista Vórtex, 8(3), 1.10. https://doi.org/10.33871/23179937.2020.8.3.1.10

Edição

v. 8 n. 3 (2020): Revista Vórtex

Seção

Artigos

Licença

Copyright (c) 2021 Camilo A. Mendez San Juan

Creative Commons License
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.

Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.

Métricas