Programme

SBCM 2009 comprises technical sessions, consisting of oral presentations, posters, workshops and tutorials, as well as musical and multimedia presentations using technological and computational resources. All artistic activities are open to the public, with free admission.

SBCM participants have access to a wide range of social events, including discussion panels with local and international artists, visits to research centers and historical sites in Recife.

Detailed Programme

Description

• Oral presentation sessions of accepted technical papers, music papers and posters

• Keynote Speeches: talks by invited speakers, including:

"New sounds from guitars" by Miller Puckette, researcher of the University of California, San Diego, and associate director of the Center for Research in Computing and the Arts (CRCA).

"Electroacoustic approach to some colombian composers" by Catalina Peralta, Colombian composer.

• Workshops and tutorials, including:

"Computer-Aided Composition - Formal Models and Software Technologies for Contemporary Music Creation" (Modelos matemáticos para análise e composição em OpenMusic) by Jean Bresson (IRCAM, France).

"Advanced Topics in Puredata (Pd)" (Tópicos Avançados em Puredata) by Miller Puckette (CRCA, USA).

"Música em jogos digitais" (Music in digital games) by Giordano Cabral (D'Accord Music Software). This tutorial will be given in portuguese.

• Concerts curated by Damián Keller, coordinator of the Núcleo Amazônico de Pesquisa Musical - NAP, Universidade Federal do Acre, with the presentation of accepted works for the music paper sessions, and works by invited composers.

• A discussion panel, with participation of members of the Núcleo de Computação Musical (NUCOM) of the Brazilian Computer Society (SBC), members of the program comittee and guests. Some of the topics for discussion are:

"New paradigms and technologies in Computer Music", focusing the renewal of computational paradigms applied to music, including musical applications with new portable devices, network infrastructure and embedded systems.

"Sound and Music Computing in Brazil: strategic plans for research groups in the next 10 years". With the participation of research group leaders from several Brazilian regions.

• "On the Spot" is an open venue for sharing ideas and works in an informal, casual setting. Artists and researchers will have computers at their disposal for displaying finished or on-going works.

• A "Jam-Session" will bring together computers, traditional intruments, DJs and musicians in a huge improvisational get-together. Bring your instruments!

First Technical Paper Session

Monday, September 7th from 4:00 - 6:10 PM
(Session chair: Marcelo Queiroz - USP)

• Pitch class composition in the pd environment - Oscar Di Liscia, Pablo Cetta
• Real-Time uses of low level sound descriptors, as event detenction functions with Zsa.descriptors Max/MSP Library - Mikahil Malt, Emmanuel Jourdan
• Descoberta Automática de Conhecimento em Interpretacões Musicais: Microandamento e Microdinâmica - Fulvio Silvestre,  Raphael Holanda, Geber Ramalho
• Multidimensional microtiming in Samba music - Luiz Naveda, Fabien Gouyon, Carlos Guedes, Marc Leman
• Creating Evolutionary Soundscapes with Gestural Data - Jose Fornari, Jonatas Manzolli, Mariana Shellard

Second Technical Paper Session

Wednesday, September 9th from 10:00-12:10  AM  PM.
(Session chair: Geber Ramalho - UFPE)

• Derivation of SOM-G Granular Synthesis Instruments from Natural Sounds by Atomic Decomposition of Audio Signals - Paulo Roberto da Silva
• Interacting with the 3D Reactive Widgets for Musical Performance - Florent Berthaut
• Music Creation by Novices should be both Prototypical and Cooperative - Lessons Learned from CODES - Evandro Miletto, Marcelo Pimenta, François      Bouchet, Jean-Paul Sansonnet, Damián Keller
• Two Approaches for HRTF Interpolation - Gustavo H. M. de Sousa, Marcelo Queiroz
• Wind instruments synthesis toolbox for generation of music audio signals with labeled partials - Martín Rocamora, Ernesto López, Luis Jure

Music Paper Session

Tuesday, September 8th from 4:00 - 6:10 PM
(Session Chair: Jônatas Manzolli - UNICAMP)

Poster Presentation Session

Monday, September 7th from 1:30 PM to 3:30 PM.

Concert I

Acercamiento electroacústico a algunos compositores Colombianos

Electroacoustic approach to some Colombian composers

Curator: Catalina Peralta

CATALINA PERALTA Bogotá-Colombia (1963)
She is Associate Professor at the Department of Music, Faculty of Arts and Humanities, of the Universidad de Los Andes in Bogotá, where she has teached composition and electroacoustic music since 1996. Composer of the Vienna Academy of Music. Magister Artium at the University Mozarteum-Salzburg. Participation in different Festivals with her works.

Program:

Rothko IV (Germán Toro, 13’, 2008)
Electroacoustic composition. From the perspective that time has give us on his whole work, Rothko appears to me as an Artist who followed over the years a path towards abstraction to express the fullness of his subjects through space and color in a deep personal way, independent from daily ephemeral necessities of art business. In Rothko’s work what is been shown acts likewise than what remains concealed. Form and color language rise from the reflection about his subjects: the Greek myths, the origin of tragedy, the structure of the psyche, the surrealism, the fresco paintings from Fra Angelico, etc. Those are not aesthetical end in itself. That, what after slowly distillation remains, contains the essence of its origin. Not only that, what is being seen is thus present but also that, what became outward dispensable. Rothko IV defines a clear syntax based on composition models that combine continuous and discontinuous elements. Discontinuous elements have the quality of recognizable sound objects that are combined in sequences leaving open spaces to perceive the sounds behind. Continuous sounds appear as surfaces and as a fluctuation processes. The piece is a further attempt to approach the idea of space as a superposition of layers that enter and leave the sound space covering and discovering further sound layers existing in the background and suggesting a process that continues beyond the limits of conscious perception.

Electra 2 (Mauricio Bejarano, 10’17”, 2009)
“Voy a visitar a los pingüinos y les ofrezco un concierto de fonógrafo, ya lohabíamos hecho varias veces con éxito, pero esta vez el efecto sobrepasa todo lo imaginable. … Y parecería que los pingüinos saben apreciar el talento … puesto que uno de ellos trató de meterse entre la bocina, probablemente para escuchar mejor.” (En Exploradores como nos gustan de Jean Charcot, citado por Julio Cortázar en Losautonautas de la cosmopista.)

Radioland (episodio 1) (Julián Jaramillo, 4’38”, 2009)
After a year of researching and gathering material about radio in Colombia, this piece uses radio samples about politics, enterteinment, sports and humor, which tell little media stories. The piece is a trip through electromagnetic spaces from recent past, that reveals sonic imaginary tendencies and memories from the colombian construction of media.

FUXING (Juan Reyes, 13’14”, 2006)
TapeMusic, originally in 4 channels (For Physical Model of a Banded Waveguide, Pipa and Gamelan). This is a computer generated media piece for Banded Waveguide physical models and spectral modeling of Pipa and Gamelan. Banded waveguides computer models are used for sound of instruments such as bowed marimbas and vibraphones. While searching for the timbres in this composition (and therefore the spectral modeling), the composer was aiming at sounds rich in odd harmonics and not necessarily tempered. Furthermore the rhythmic component was an issue, while looking for patterns which are only obtainable with an expression machine algorithm. The sound sources in this piece make a thread of micro-tonal sonorities which also evolve horizontally as function of time. This composition was achieved with Juan Pampin’s ATS and Common Lisp Music (CLM) on a PlanetCCRMA Linux environment.

Cristal verde muy oscuro, casi negro (Roberto García Piedrahita, 11’11”, 2009)
Green glass very dark, almost black
Vitreous tool; vitreous ornament. Mirrors and arrows and spears.
Translucent. To polish. Obsession, siege, disturbance,
fixed idea; with tenacious persistence it assaults the mind.
Obstacle. Impediment, difficulty, disadvantage.
Lack of light to perceive the things. Place without light, or with
very little light. ...

Pieza electroacústica No 2 (Jorge Gregorio García M., 10’37”, 2004)
The row material comprehends the recording and further spectral analysis of some structural chords played by a piano, produced in different ways, such as ‘normally’ played in the keyboard, on the strings, as resonance, etc. Some of the main harmonic components in the sounds, isolated, maintain their own spectral characteristics such as duration, intensity, place inside the harmonic complex, between others. These physical characteristic data of the sounds are interpreted as musical objects in itself in the structure of the work. As a matter of fact, these data will be modified and overlapped with other related material obtained by electronic means conserving some characteristics within each other (such as pitch, intensity, duration, etc.) working as structural bridges between the acoustic and the electronic data. In this way, the development of the natural harmonic spectrum of the original signals will behave as some sort of compositional maps, which would be interpreted in different compositional means, conserving and manipulating some data in order to create independent but related structures along the piece.

The composers:

Germán Toro: born 1964 in Bogotá. Composition studies with Luis Torres Zuleta in Bogotá, Erich Urbanner and Karl-Heinz Füssl at the University of Music and Performing Arts, Vienna. Conducting courses with Karl Österreicher and Peter Eötvös. Studies on Electroacoustics and Computer Music in Vienna and at IRCAM in Paris. His catalogue includes instrumental, electroacoustic and mixed compositions. He has received composition grants from the Colombian Ministry of Culture, the Austrian Republic and the Experimental Studio Freiburg as well as composition prizes. His works have been performed in Europe, South Korea, Northund South America and in collaboration with Ensembles like die Reihe Vienna, On-Line Vienna, Mondrian Basel, and Klangforum Vienna among others. From 1999 to 2006 he was director of the computer music course at the University of Music and Performing Arts, Vienna, where he was guest Professor for Electroacoustic Composition 2006/07. Since October 2007 he is director of the ICST at the School of Arts, Zurich.

Mauricio Bejarano: Associate Professor at the Conservatory of Music of the National University in Bogotá, Colombia and Associate Professor in the faculty of the College Fine at the National University of Colombia. He has explored several fields of creativity such as design, sculpture, painting, poetry, essays and acousmatic art. He has attended several workshops and seminars on electroacoustic composition by Daniel Teruggi and François Bayle (Ina-GRM), Francis Dhomont, Stéphane Roy, John Chowning, Jean Claude Risset and Michel Zbar. He has exhibited his artwork both at individual and group exhibitions. His music is widely performed around the world including Spain, France, Holland, Belgium, Austria, Canada, USA, Mexico and Uruguay. His composition Jagua (r), was awarded a prize in the International Acousmatic Composition Competition, Noroit 95. Mauricio Bejarano has created radio phonic and sonic art works, has written several essays on electro acoustic music, and periodically lectures on the topic.

Julián Jaramillo (www.julianjaramillo.net): composer and intermedia artist. He has joined video, tv, radio, dance, opera, instalation, sound art and design, internet music projects. He is member of “El salón de la Justicia” team, he works from 2007 as a professor and researcher in Universidad Central. Julián lives and works in Bogotá.

Juan Reyes: composer and engineer has pursued degrees in Computer Science, Mathematics and Music aiming to Computer Music and related fields at the University of Tampa and at CCRMA in Stanford University. Among a variety of subjects in music and acoustics he has studied with John Chowning, Chris Chafe, Julius Smith III, Jonathan Berger, Brian Ferneyhough, Terry Mohn and Max Mathews. Recent interests steer to modeling of acoustical phenomena and musical expression plus information systems and human computer interface and their application to composition and performance. He has been professor of Music and Arts at La Universidad de Los Andes in Santafé de Bogotá, Colombia. At CCRMA his compositional work is focused toward methods and pieces for traditional acoustic instruments, live electronics, tape-media format and art-music sound installations.

Roberto García Piedrahita: born in Bogotá, Colombia in November 1958 and lived in Barcelona during the 80s. He studied composition and electroacoustic music with Chilean composer Gabriel Brncic at the Phonos Foundation in Barcelona. He graduated from the Universidad Nacional de Colombia in music composition. He is professor at the Conservatory of the Universidad Nacional de Colombia since 1993 where he has taught courses in Composition, Interpretation and Sound for Media; he also coordinates the Computer and Electroacoustic Music area. He is currently teacher in two Masters: Media and Theater and Interdisciplinary Arts at the Faculty of Arts.

Jorge Gregorio García M.: born in 1975, Bogotá, Colombia. He is Associate Professor at the Department of Music of the Faculty of Arts and Humanities of the Universidad de Los Andes in Bogotá. Composer and theoretician, graduated from Los Andes University in 2000. In 2003 he earned his Masters Degree in Music Composition and Theory at the Texas Christian University. His Pieces have been performed in different contemporary music festivals in North America, South America and Europe. Education: 2003 Composition/ Analysis seminar/workshop with composer in residence Dr. Brian Ferneyhough. University of North Texas, Denton, USA. 1999 “Workshop Seminary of popular and academic music composition” conducted by Maestro Coriún Aharonián, Bogotá, Colombia. 1999 “Composition seminary/workshop of academic Latino American music analysis”, conducted by Maestra Graciela Paraskevaídis, Bogotá, Colombia. Awards Graduate Assistantship, granted by the Graduate School of Arts at Texas Christian University, Fort Worth, TX, 2000-2002. Consecutive winner of the 2002 and 2003 Jonathan Durington Student Composition Awards, Fort Worth, Texas, USA.

Concert II: SBCM 2009 concert

Curador / Curator: Damián Keller

Programa / Program:

Context (Miller Puckette, 5’, 2009) (estréia)
Formato: guitarra, processamento em tempo real
Esta miniatura pertence a uma série de trabalhos cuja idéia é investigar o processamento sonoro das seis cordas da guitarra de forma individual - uma técnica que abre muitas possibilidades além dos efeitos “clássicos”. Tradicionalmente os efeitos operam num único sinal pré-mixado. Em Context, um algoritmo simples de inteligência artificial controla - em tempo real - o som de cada nota em função do seu contexto melódico e textural.

10°29´N (Adina Izarra, 4’, 2007)
Formato: estéreo
A peça 10°29´N é baseada em pássaros venezuelanos: Tordos, Guacharacas, Guacamayas. Há também a chamada muito característica do amolador, uma tradição antiga da Galícia espanhola que ainda está presente nas ruas de Caracas. O título faz referencia a posição geográfica da cidade, situada a 10º 29´ ao norte do equador.

(Un)folding (Daniel Barreiro, 12’ 20”, 2004)
Formato: estéreo
(Un)folding é baseada principalmente em sons de papel. A ação de dobrar papel foi uma maneira não apenas de produzir os sons, mas ofereceu também idéias para a organização do material musical da obra. A idéia é que, quando se dobra uma folha de papel, o verso da folha é revelado. Dobrando-a repetidas vezes, é possível obter várias formas que podem ser continuamente transformadas. Da mesma maneira, (Un)folding procura mostrar diferentes pontos de vista de um objeto que se move e se transforma durante o desdobrar do tempo. A peça foi Finalista no VI CIMESP, em 2005.

Freedom in Hot & Cold / Libertad en caliente y frío, V. 2. (Catalina Peralta, 4’ 32”, 2007)
Formato: estéreo
Parte das amostras utilizadas foram gravadas em uma das principais ruas de Bogotá, Carrera 7tima, na quinta-feira 5 de julho de 2007, durante uma manifestação espontânea. As pessoas - de diferentes classes e pensamento político - protestavam contra o assassinato de 11 deputados do Valle, sequestrados a 9 anos atrás pelas FARC. As pessoas protestavam contra as FARC, a violência, o sequestro, os conflitos armados, pedindo paz e a liberação de todos os reféns. As outras amostras foram retiradas do lado frio do mundo: sons quebrando o gelo (samples do Jens Hedman) e som de gotas e de água corrente (por Natasha Barrett).

Canudos (Liduino Pitombeira, 6’ 16”, 2000)
Formato: estéreo
Canudos foi uma guerra religiosa e civil que aconteceu no Brasil, no final do século 19. A peça é cheia de elementos místicos que representam a religiosidade de Antônio Conselheiro, retratada através do crescendo estrutural da obra. Os momentos finais mostram um episódio marcante em que o exército de dois mil homens luta contra cinco rebeldes. A peça usa phase vocoding, linear predictive coding, e síntese FM, subtrativa e granular. O software utilizado foi Csound, Peak e ProTools. Canudos foi realizada no Music & Art Studio Digital (MadStudio) da Louisiana State University.

Green Canopy: On the Road (Damián Keller, Ariadna Capasso, Patricia Tinajero, Luciano Vargas Flores, Marcelo Soares Pimenta, 7’, 2009) (estréia)
Formato: versão estéreo de obra ubíqua
Green Canopy é uma série de obras escultóricas e sonoras que envolve elementos extraídos da floresta ocidental amazônica. Green Canopy, On the Road é a obra mais recente dentro dessa série. On the Road fornece material sonoro para aplicação de um conceito embasado nas técnicas de interfaces humanocomputador: a sonda musical. As sondas musicais são dispositivos que permitem estabelecer uma experiência pessoal para cada ouvinte da obra musical. Esta versão mostra uma das tantas possibilidades de
realização da obra.

Kitchen <-> Miniature(s) (Fernando Lopez-Lezcano, 9’43”, 2005/2006)
Formato: 24 canais
Um gravador de boa qualidade e uma cozinha. A humanidade sintonizada a formas e tamanhos comuns que criam ressonâncias compartilhadas: em toda parte, há uma cozinha. Estas miniaturas exploram alguns utensílios de cozinha e muitos dos pequenos aparelhos que gravei (ou seja, qualquer coisa que coubesse
comigo dentro do armário do meu quarto). Tem destaque na peça: o contador mecânico de uma torradeira, embalagens de biscoito, as ressonâncias internas da tampa de uma frigideira, e muitos outros instrumentos de cozinha. Mais de 3000 linhas de código Common Lisp são usadas para criar grandes formas e detalhes
no processamento do som. Agradecimentos a Bill Schottstaedt (Common Lisp Music), Juan Pampin (Analysis, Transformation and Synthesis) e Rick Taube (Common Music).

sonificacao~ 7 9 9 2009 (Pedro Patrício, 8’ 30”, 2009) (estréia)
Formato: estéreo, processamento em tempo real
[pedro patrício(
[sonificacao~ 7 9 9 2009]
[filmes para música $1(
[sbcm]

Os compositores / The composers:

Adina Izarra (Caracas, Venezuela, 1959) obteve o seu PhD pela University of York no ano 1989. Em 2002 passou a formar parte do “Colegio de Compositores Latinoamericanos de Música de Arte”. E atualmente leciona na Universidade Simón Bolivar, onde dirige o Laboratorio Digital de Música.

Catalina Peralta (Bogotá, Colômbia, 1963) é Professora Associada do Departamento de Música da Universidade de Los Andes, em Bogotá, onde ensina composição e música electroacústica desde 1996. É compositora formada pela Escola Superior de Música de Viena, e Mestre Artium pela Universidade Mozarteum de Salzburgo.

Damián Keller (Buenos Aires, Argentina, 1966) é coordenador do Núcleo Amazônico de Pesquisa Musical e professor adjunto na Universidade Federal do Acre. As suas áreas de interesse incluem a ecocomposição e a música ubíqua.

Daniel Barreiro (Brasil, 1974) nutre interesse especial pela música eletroacústica. Sua produção inclui obras acusmáticas e obras eletroacústicas mistas. É Doutor em Composição pela University of Birmingham (Inglaterra). Atualmente atua como Professor Adjunto na Universidade Federal de Uberlândia. Com Mestrado em Engenharia Eletrônica (Universidad de Buenos Aires, Argentina) e Música (Conservatório Nacional Carlos Lopez Buchardo).

Fernando Lopez-Lezcano tem trabalhado no campo da música eletroacústica desde 1976. Ele criou e administra o CCRMA Planet at Home, um pacote de aplicativos livres para música e som na plataforma Linux. A sua música encontra-se disponível em CDs publicados em América, Europa e no Sudeste Asiático.

Apesar da sua formação como matemático (BS, MIT, 1980; PhD., Harvard, 1986), Miller Puckette tornou-se pesquisador da área de computação musical. Ele trabalhou no MIT Media Lab desde a sua criação até 1986, e posteriormente no IRCAM (Paris, França) 1986-1994. Miller Puckette atualmente leciona no Departamento de Música da University of California, San Diego, onde também atua como Diretor-Adjunto do Center for Research in Computing and the Arts (crca.ucsd.edu). Em 2008, foi premiado com o Seamus Prize em reconhecimento à sua ampla contribuição para o campo da música electroacústica.

Liduino Pitombeira (Brasil, 1962) recebeu seu PhD em Composição pela Louisiana State University (E.U.A.), onde estudou com Dinos Constantinides. A sua música foi executada pelos seguintes grupos instrumentais: Quinteto de Sopros da Filarmônica de Berlim, Louisiana Sinfonietta, Red Stick Saxophone Quartet, New York University New Music Trio, Orquestra Sinfônica do Recife (Brasil), Syntagma, Orquestra Filarmônica de Poznan (Polonia ) e Orquestra Sinfônica do Estado de São Paulo (Brasil).

Pedro Patrício é Compositor de Música Electrônica Contemporânea Erudita e Performer. É Doutorando em Ciência e Tecnologia das Artes: especialização em Informática Musical na Escola das Artes da Universidade Católica Portuguesa.