[Acousmatic-Sonic Art]
Axiomas Indígenas es un intento de imaginar una música indígena pre-colombina, donde se explora la creación de eventos musicales con sonidos de instrumentos nativos del caribe y del continente sur americano. Se utilizan sonidos de flautas andinas, percusiones taínas y continentales, siguiendo una ejecución virtual de lo que pudiera ser una manera de composición orgánica elaborada y evolucionada. La pregunta principal del álbum es, ¿cómo se hubiera desarrollado la música indígena, principalmente la Taína, sin la colonización española? Pues lo que se conoce de esta música, es que en Borikén (nombre taíno para la isla de Puerto Rico) era mayormente para acompañamiento de rituales y no tan sistemática o predeterminada. Esta forma de producir sonidos, orgánicamente, sin estructura estricta es utilizada en los algoritmos para producir estos eventos musicales. Esta manera pseudo aleatoria de menear las maracas, soplar las flautas y sonidos que vacilan entre lo irregular y lo regular son explorados a lo largo del álbum. Es importante también mencionar que las figuras de petroglifos taínos en Borikén se utilizaron como material para determinar comportamientos en ritmos y notas. Estos petroglifos taínos tienen la particularidad de tener al círculo como figura predominante y se diferencia de algunos de los diseños más cuadrados del continente Sur Americano.
Pa Vainilla
These works are a series of pieces that use exclusively sounds of the Pandero of Puerto Rican Plena.
criollo-yú
Criollo is a word in spanish that means creole. Yú is a word in Taíno that means white. Here I am looking for my subjective sonic archetypes of these colors through the selection of sound sources that resembles a Puerto Rican criollo yú. A sound of the words criollo and white. Here the selection was mainly indigenous flutes, latin percussion and digital noises that resembles the color white. These three entities are submitted to an algorithmic rhythmical and melodical structure that fuses idiomatic acousmatic music with sequential afrodecendent cadences as well as its minimalist melodical repercussion.
criollo-jágua
These works are the same as the series of all criollo colors but with the color black from the jágua which is a plant used to paint over the skin of the indigenous Taíno. The sounds selected for this work are sounds of percusión and mainly metal percussion sounds. A very percussive sonic range and homogeneity was aimed at.
criollo-yú-ita
These works are exploring the colors red and white with the creole sonic archetypes. For the color white, digital noises were used, for the color red, square waves were used, for the criollo archetype indigenous flutes and other percussion were used. The structure is based on idiomatic acousmatic music, afro Caribbean rhythmical sequences and algorithms like guaguancó from cuba and other simple sequential evolving structures that resemble slightly minimalist music.
sin-título[date][version]
These works are a collection of a series of works named untitled or sin-título["date"] were I am focusing on pure abstract forms in sound and music and avoiding symbolisms and semiotics. In these pieces I tend to stand conceptually with the idea that sounds and music are a-symbolic phenomenological substances and that this art of sounds should be perceived with a synthesis of a concrete, primitive, eidetic and experiential consciousness in order to enjoy the pure forms, the tension and release, without the confusion and obstruction of semiotics.
The technical and aesthetic concepts behind these art music sin-título pieces are mainly non thematic geometrical abstraction in electroacoustic algorithmuc composition forcing the listener to generate its own causality. The proportions are protagonists with a dislocation of continuity given by apparent non associated sound sources that embraces Webern like sound proposition to a more subtle but still obvious structural aesthetics. This is integrated with a more organic morpholigicaly gestural sound complexes that fuses this dry geometrical proportions to this more organic sound events as well as the integration of a musical gesture that incorporates a slight detachment from a repetitive minimalism. In resume this sin-título pieces navigates in slight development of the edges of electro-acoustic and contemporary musical abstract aesthetic propositions following weberian musical thougth with a thru composed structural aesthetic that focus on a slight detachment of constant movement and evolution without staying in long padded episodes.
sin-título[09-12-22] - Panderos and Cuatro
These works are a series of pieces where Pandero sounds and Puerto Rican Cuatro sound samples where used.
Afro Caribbean Algorithmic Music
Chaotic Synthesis Music
DCS - Dynamic Chaotic Synthesis
Spanish:
Este album se basa en experimentos sonoros de un sistema de síntesis no estandarizada creado como resultado de una investigación de teoría del caos para la creación musical llamado "Dynamic Chaotic Synthesis[I]" primera versión. El sistema se inspiro en el "Dynamic Stochastic Synthesis" de Iannis Xenakis. En vez de utilizar puntos en el axis de x y y se utilizo rampas. Se construyo algoritmos para controlar la frecuencia de una rampa, la amplitud de la rampa y el signo de la rampa controlados por funciones caóticas discretas.
English:
This album is based on sonic experiments using a non standard synthesis program created as a result of an investigation on chaos theory called “Dynamic Chaotic Synthesis[1]. This system was inspired by “Dynamic Stochastic Synthesis” of Inanes Xenakis. Instead of points in the x and y axis of a window ramps were used. Algorithms to control the frequency of a ramp, the amplitud of the ramp and the sign of the ramp where controlled using chaotic functions.
Chaotic Functions y Dynamic Derivative Relation
These two works are large scale works where these dynamic derivative based non standard synthesis method is used. The sections are made by editing chunks of sound experiments of these algorithmic sound process.
Chaotic Functions as Compositions
These pieces are named after the mathematical functions I created while continuing research on chaotic functions. It itself is geared to exhibit the raw pure qualities of the sonorities of each distinct function. These pieces goes through different sonic modes of the mathematical function that protagonizes its harmonic quality showing its pure aural forms. Sometimes I like to describe these selection of sounds as the current chaotic function’s harmonic portrait.