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Edson Zampronha : Mármore,
Three morphological elements are used in the work: This freedom is related to the nature of the musical zampronhs to be generated. Its division into three parts reproduces the global features of the entire work.
Resolution is the result of a polar edspn, which, resembling an appoggiaturais resolved in the next note. These chords are unities that are fragmented by the use of specific extra-notes. Starting with E, the next polar pitches are D, C and Bb.
En este caso, alternando entre las notas Mi y Re. The sounds were carved after being recorded. List of compositions by Edson S. It is also important to consider the introduction of varying degrees of performance freedom included in the tuba score. His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds.
Edson Zampronha | Composer
Three means are used to lead the musical discourse and create the work’s drama: Retrieved from ” https: Afterwards, the tuba and marble sounds are separated, zanpronha they continue in parallel eddon one another, revealing their conflict. This overall control of pitches is very important to the musical intelligibility of the work.
Its first component is therefore a typical sustained note, while its second is a sustained note with melodic line features. A number of similar rapid twisting movements control both the marble sounds and the melodic tuba shapes.
Eventually, a new fusion is sought.
Similarly, the openness offered to the performer is a way to edosn chance appear in particular aspects of the work. 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.
Zampgonha con la nota Mi, las siguientes notas polarizadas son Re, Do y Sib. The electroacoustic sounds come from a marble surface rubbed with various metal, glass and clay objects.
He started out his musical training at a young age at home. Tres recursos son utilizados para conducir el discurso musical y crear el dramatismo de la obra: In this sense, the concept of dissonance is re-interpreted.
Online publication on December 5, Edson Zampronha born June 2, is a Brazilian composer dedicated to contemporary experimental music. 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.
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.
It uses a sound that, like the marble in a sculpture, is carved by the musician day after day to take its place in the history of sound.
In the first section, for example, the key feature is a sustained note. At the beginning of the work, for example, the performer sings inside the instrument as if he or she were singing a Gregorian chant. Concerning his harmonic language, Zampronha uses non-traditional but intelligible chords comprising many notes from 6 to 18, or even more.
This page was last edited on 16 Augustat During this period his concept of re-interpretation applied to musical form was first used. In this case, it interchanges notes E and D. Two piano works by Edson Zampronha – Analysis and performance suggestions. His first lessons included musical composition, history of music, theory, esson, counterpoint and musical analysis, besides piano playing.
Doctor of Musical Arts at the University of Georgia. This solo is zampgonha a slow and profound recitative. In he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder.