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Music is the result of an intelligibility that transforms a sound experience into a musical experience. In this paper I explain how it works.
* In: Revista Brocar, v. 31, 2013, p.247-262.
In this paper I offer a deep explanation on the meaning of gesture in contemporary music and its role as a bridge for the linking of sound materiality and musical signification.
* In: Revista Transcultural de Música/Transcultural Music Review v.9, 2005.
In this paper a go beyond classic symetries and I explore the potential of using symmetries based on hierarchical similarities in music.
* In: Música em Contexto, Brasília, Nº. 1, 2013, p.96-123.
The magic of Igor Stravinsky's The Rite of Spring: the synthetic cut, the physicality of rhythm and the hierarchic inversion.
* In: Resonancias nº 8, 2013, p.42-45.
Understand what transference is, and discover how it can be carried out by musical instruments, by timbre and performance procedures, and by music itself.
* In: Música Hodie v.13 nº 1, p.8-18, 2013.
Is it possible to find out a music composition inside sound objects? Understand one of the key points of Musique Concrète and the way it expands our composicional procedures.
* In: OuvirOuVer v.7 nº 1, Jan-Jun 2011.
Here I explain how I unfold musical dimensions into musical space including three concrete musical examples that illustrate these innovative procedures.
* In: Espacio Sonoro nº 27, June 2012.
I am interviewed by Tom Moore in an open and outgoing conversation about my background and some of my musical ideas.
* In: www.musicabrasileira.org, January 25, 2010.
I explain my trajectories as a composer, my main musical issues and my personal compositional proposals.
* In: Música Contemporânea Brasileira 1: Flo Menezes e Edson Zampronha. Coleção Cadernos de Pesquisa-Centro Cultural São Paulo, p.59-88, 2008.
In this paper I disclose to the reader how it is possible to construct a rethoric discourse in musical composition. I give three examples: one from Beethoven, other from Varèse and another one from my piano piece Reduced Fragments of a Very Large Story.
* In: Claves, n.2. November, p.46-59, 2006.
This on line publication includes the complete score of the work Mármore, its full recording by Jesús Jara and a comment on the work.
* Published by the Fondation Daniel Langlois pour l'art, la science et la technologie, 2005.
I am interviewed by Mariá Portugal and in simple words I explain what electroacoustic music is, from where it comes from and how to grasp its specific conception on rhythm.
* Published at www.rraulr.com, 2005.