[Acousmatic-Sonic Art]
Areito e Guatibirí e Yuke’i’o – por Roy F Guzmán - 2024
"Areito e Guatibirí Yú e Yuke’i’o" translates in Taíno to "Song and Dance of the White Pitirre of the High Stone Mountain"
This work is a modern taíno Areito meant to be danced, listened and experienced through out the whole work. Native Taíno indigenous people from Puerto Rico historically tended to have great Areitos lasting sometimes days on end and usually ended when all where exhausted. This taíno sonic-installation/party/music/areito is meant as a poetic gift and respect to my Puerto Rican ancestry. This piece has all of the three main ancestral elements. From the indigenous Taíno the pan flute is its representative, from another cultural ancestry the African sound is very prominent with the use of Pandero drums used in Plena, a Puerto Rican criollo popular music, and from the Spanish and European descent the macroscopic form, structures and certain sonic events. Complex broken rhythm are produced by filtering Afro Caribbean rhythms like Bomba in Guasábara, Rumba in Guada de Guabasa and others in Bembe de Zambo, with complex and abstract European proportions from contemporary classical aesthetic.
This work also serves as an installation hovering in the liminality of the sense of eternity of plastic and installation art, given its perceptual defying length and a sense of temporality, given the sound's and music's medium. It serves as an eternal immediate phenomenal experience, it also serves as a musical composition, and lastly it serves as a celebration of Puerto Rican ancestry and contemporary identity.
Areito e Guatibirí Yú e Yuke’i’o – by Roy F Guzmán - 2024
1 – Bo Güey e Bayacú - 11:22
2 – Bembe e Zambo - 31:05
3 – Guada e Guabasa - 47:14
4 – Guasábara - 45:39
1- Bo Güey e Bayacú means "The Great Sun of the Dawn".
2- Bembe e Zambo means "Fiesta of the Zambo" (descendant of African and Taíno/Indigenous heritage).
3- Guada e Guabasa means "Food for the Dead".
4- Guasábara means "Attacks by Rebel Taínos Against the Colonizers".
Axiomas Indígenas
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.
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.