Projects

Ph.D. at The University of Edinburgh

29 de September, 2016

This page will be used to document my progress and projects developed at The University of Edinburgh for my Ph.D. I will continue to fill it out. Pure Data Preset System

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Emic Reverie (for a late summer sun) – piano & percussion

8 de June, 2016

In 2014, I was contacted by the pianist Rei Nakamura and the percussionist Pascal Pons and asked to write a duo for Piano & Percussion to be premiered in Japan on the 31st of May of 2015. The project was based on a version for 2 pianos and 2 percussionists of The Rite of Spring that they had been preparing together with the Japanese pianist Sumiko Hioki Hasegawa and the percussionist Takayoshi Yoshioka. Nakamura asked me to compose this duo having the Stravinsky masterpiece in mind. After brainstorming and playing around with some…

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Akousmatikon – [concert/contest/article]

4 de March, 2014

The “Akousmatikon” project came to life in the beginning of 2013 while I was collaborating with conDiT in the production of different concerts. The venue acquired a Yamaha 8.1 surround system and the idea to dedicate an event exclusively to electroacoustic music, and this surround format emerged. The project took shape over that year and we finally decided to contact Dennis Smalley & Jonty Harrison, two important composers of this genre, and ask them to participate in this project. With their acceptance, the “Akousmatikon” concert was programmed for the 2014 season in conDiT….

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Micro-Encuentros / REDCE

23 de February, 2014

Micro – Encuentros was a series of talks and short concerts that I organized during 2014 in Quito – Ecuador with the support of REDCE and Fundación Filarmonica Casa de la Música. The idea was to allow a space for different contemporary music practitioners to share their knowledge with a general audience. The talks would concentrate on a specific topic like an instrument, analysis or composition and would end with a “concert” demonstration. The PowerPoint Presentation of my participation during this talks can be found here.       During 2014…

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ECV 2013 – (Ecuador’s contemporary music festival)

14 de October, 2013

In May of 2013, I was hired by the Ministry of Culture of Ecuador to be the curator of the contemporary music festival of that year. The festival was a big scale project that included the participation of the 4 main symphony orchestras of Ecuador’s main cities (Quito, Guayaquil, Cuenca, Loja). The current situation of Ecuador’s music culture is difficult to work with as there are no cultural policies that establish the independent production of events. The ministry works in a centralized way with no specialized departments that truly understand…

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Ugarit – musical interface [LAC2012 paper and T.V. show]

12 de April, 2012

In 2011, I was part of the team that developed the “Ugarit” touch screen musical interface. The project was conceived as part of the “PICTO – Arte” project directed by Carmelo Saitta and Dr. Pablo Cetta and was realized by Emiliano Causa, Matias Romero Costa, Sebastián González Botasi, Tarcisio Pirotta Sabi and myself. The main objective of the project was to develop a touch screen interface that allows the production of musical structures that are strongly related to musical notation. The interface uses the touch screen instrument paradigm in a…

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Spanish Pure Data/Audio Programming Tutorial

23 de January, 2012

From 2006 to 2012 I worked at Quilmes National University as a Teacher Assistant in the Computer Music Programming Class. For 3 years our course was focused on the computer music programming environment known as max/MSP, however in 2008 I started to use Pure Data as the main platform. This encouraged me to start porting the max tutorial to PD. This concluded in having a finished PD/DSP tutorial in Spanish. The files contain examples of simple DSP processing algorithms and get more complex as they advance, however, their main goal is…

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Buenos Aires Sonora “Oí(r) el Ruido” – [PD Convention 2011-paper]

9 de August, 2011

In 2011, I was hired by the artist group “Buenos Aires Sonora” to develop a spatialization system to use in their intervention of the Argentinian Bicentennial Pavilion. Buenos Aires Sonora is a group of composers that produce “in-situ” interventions. For this piece titled “Oí(r) el Ruido”, they composed a performance with music and dance. The pavilion was intervened with contact microphones that captured different parts of the structure with its different materials. The performers would choreographically play percussion in different parts of the pavilion while at the same time a dance group performed in…

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