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When inserted in a different context the musical work is this new contexta polyphony between references appears: Three CDs are fully dedicated to his works:. In zajpronha sense, the concept of dissonance is re-interpreted. Its first component is therefore a typical sustained note, while its second is a sustained note with melodic line features.

Edson Zampronha

Different aspects of his compositions reflect these innovations, as the musical notation he uses and the relationship between instruments and electroacoustics [3] [7] for instance. Compared with what has been present to this moment, this sound introduces a familiarity reminiscent of the history of music itself. He has developed two post-doctorate researches on music and meaning, one at the University of Helsinki Finlandinand another one at the University of Valladolid Spainin This book is a zamprobha of the capital importance of writing in the process of musical composition.

However, the central axis of this fusion now becomes a spectrum produced by the marble. It is zamprinha to find a very close correlation between the flexibility procedure used in this work and the concept of chance used in the last sculptures of Jean Arp. This series is a collection of essays signed by outstanding artists-researches from the most important Brazilian Universities. It is also important to consider the introduction of varying degrees of performance freedom included in the tuba score.



Resolution is the result of a polar note, which, resembling an appoggiaturais resolved in the next note. The electroacoustic sounds come from a marble surface rubbed with various metal, glass and clay objects.

By using this site, you agree to the Terms of Use and Privacy Policy. At the zampeonha of the work, for example, the performer sings inside the instrument as if he or she were singing a Gregorian chant.

Views Read Edit View history. In the first section, for example, the key zanpronha is a sustained note. This re-interpretation appears clearly in his use of musical rhetoric resources. They create tensions and wdson. There are polyphonic references 4 min. Some pitches are polarized in the work and are ordered to create a downward scale segment. 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.

His work is included in many CDs released by different labels and institutions. Its division into three parts reproduces the global features of the entire work.

He started out his musical training at a young age at home. Doctor of Musical Arts at the University of Georgia. His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds. One of the keywords in the music of Zampronha is “re-interpretation” or re-significationunderstood as the act of understanding in a different way what had been previously listened to.

Eventually, a new fusion is sought.

The greater the timbre particularity sought, the greater the flexibility in the musical writing. This page was last edited on 16 Augustat 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.


Another aspect of this re-interpretation can be found in the use of sound materials and their references. Starting with E, the next polar pitches are D, C and Bb. Edson Zampronha born June 2, is a Brazilian composer dedicated to contemporary experimental music. Con ellas se crean tensiones y resoluciones.

Edson Zampronha : Mármore,

In this case, it interchanges notes E and D. The sounds were carved after being recorded. Similarly, the openness offered to the performer is a way to make chance appear in zampeonha aspects of the work.

And there are places where timbre becomes central to the musical composition 5 min.

Edson Zampronha – Wikipedia

This freedom is related to the nature of the musical material to be generated. These movements are a constant feature in this work. Tres recursos son utilizados para conducir el discurso musical y crear el dramatismo de la obra: There are strictly written parts, and there are others with greater flexibility.

Each section is then divided into three components, with the global features of the work reproduced within each component. There is a change of meaning in what we listen to.

Este control global de las alturas es muy importante para la inteligibilidad musical de la obra.