tag:blogger.com,1999:blog-72843459866247204742024-02-07T16:59:10.430-08:00 PERE VICALETWelcome to Pere Vicalet's Blog. You will find the most important information about performances, works and thoughts of Pere Vicalet.Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-7284345986624720474.post-91021900222941749512013-08-20T06:52:00.001-07:002013-08-20T06:52:43.933-07:00CD PAS ALS POBLEROSPAS ALS POBLEROS és una monografia d'Antoni J. Català gravada per l'Agrupació Músic-Municipal Sta. Maria Magdalena del Poble Nou de Benitatxell.<br />
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Aquest CD fou presentat en el concert en honor a Sta. Cecília el dia 27 de novembre de 2010. Les obres que es troben en aquest CD són:<br />
1.- Poble Nou de Benitatxell (<i>pasdoble</i>)<br />
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<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 2.- Schaitans (<i>marxa mora</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 3.- Pas als Pobleros (<i>marxa cristiana</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 4.- "La del Puerto" (<i>pasdoble</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 5.- Almoradins de Xàbia (<i>preludi</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 6.- Almoradins de Xàbia (<i>marxa mora</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 7.- Cavallers (<i>marxa cristiana</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 8.- Ben-Abiar (<i>marxa mora</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 9.- Pobladores (<i>marxa cristiana</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 10.- Trabuquers (<i>insomni</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 11.- Trabuquers (<i>marxa cristiana</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 12.- El mestre (<i>pasdoble</i>)</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"> 13.- Preludi d'Almoradins</span></span></span><br />
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"><br /></span></span></span>
<span style="mso-bidi-font-weight: normal;"><span lang="CA" style="mso-ansi-language: CA; mso-bidi-font-family: Calibri;"><span style="mso-list: Ignore;"><a href="http://www.diarioinformacion.com/marina-alta/2011/08/24/banda-municipal-reconocida-interes-inmaterial/1161196.html" target="_blank">Posteriorment a la presentació del CD l'Agrupació Músic-Municipal fou declarada BIIRL. </a>És a dir, Bé d'Interés Immaterial de Rellevància Local per la Conselleria de Cultura. Aquesta declaració va estar motivada pel paper distintiu de les bandes per la música de tradició valenciana i pel foment de l'enrequiment de la cultura autòctona. </span></span></span><br />
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La gravació del CD fou possible gràcies als col·laboladors Bolufer Llobell, Filà Shaitans (Xàbia) i el Restaurant Canor, qui va cedir el Saló de Celebracions. També gràcies a: VAPF (Benissa); Restaurant La Cumbre (Benitatxell); Grupo VAPF (Benissa); Centre Comercial A L'AIRE (Benitatxell); Forn MÓNICA (Benitatxell); Clínica Dental (Benitatxell); Filà ALMORADINS (Xàbia); Filà Cavallers (Benitatxell); Filà POBLADORES (Benitatxell); Filà BEN-ABIAR (Benitatxell); Filà TRABUQUERS (Benitatxell) i Grupo VAPF.<br />
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<br />
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Finalment la producció fou de Joan A. Bou i la mescla i master als estudis de Visualsonora (Villena).</div>
</div>
Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-74298652822207566592013-08-20T05:01:00.003-07:002013-08-20T05:04:50.772-07:00Sometimes I miss you, babe!<br />
Get the song on:<br />
<br />
https://itunes.apple.com/es/album/sometimes-i-miss-you-babe!/id613249413<br />
<br />
http://open.spotify.com/album/58IbP2iflegTwjHLFHmCd2<br />
<br />
http://www.amazon.co.uk/Sometimes-I-miss-you-babe/dp/B00BRMETNY<br />
<br />
<br />
<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F87843712&color=ff6600&auto_play=false&show_artwork=true"></iframe>Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-31417259586019689292013-07-21T15:38:00.001-07:002013-07-22T00:42:43.159-07:00M4cchina ensemble - Local Landscapes (video-excerpts)Extracts from the concert of presentation and what is M4cchina ensemble:<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/mMqsKXA59k8?feature=player_embedded' frameborder='0'></iframe></div>
<br />Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-53340980877218518012013-07-10T16:32:00.000-07:002013-08-20T04:03:21.290-07:00Why not? - Concert for guitar and live electronics without samples - Pere VicaletThis work is for guitar and live electronics without samples. The propose is to use the guitar for interacting with an Max MSP Patch. So, the sounds produced from the guitar become the drivers and the controllers of the patch, making different informatics processes establishing a dialogue with the guitar and the quadraphonic electronics.<br />
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The structure of this work is based on the six strings of the guitar. So, there are six sections and the duration of each one depends on the result of the dissonance of the harmonics of the strings as Helmoltz understood it. (If you want to listen the premier go down - I must apologize because quality is not the best).<br />
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Aquesta obra per a guitarra i electrònica naix baix el precepte de fer interactuar un instrument musical amb un patch de Max MSP on l'instrument esdevé un controlador del mateix path. Està creada al Laboratori Electrònic del Conservatori Superior de Música de València baix la supervisió de Gregorio Jiménez. Com si d'una agitadora midi es tractara, la guitarra produeix sons que interactuen amb els diferents processos informàtics de manera que estableixen diàlegs amb els dos instruments.<br />
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L'estructura d'aquesta obra consta de sis parts on la duració de les quals depèn de la dissonància produïda entre les cordes i els seus harmònics més immediats basant-se en la teoria de la dissonància de Helmoltz. La difussió de l'electrònica en viu està programada en quadrafònic.<br />
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Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-8757032067280996052013-05-24T00:47:00.002-07:002013-05-24T00:47:58.271-07:00M4cchina ensemble - Concierto 30 Mayo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUozzTjF4cKmYu-jsam8xr7Jk-CEDw2xmw82q7e1VnTGrabAByk3ZM9MX6zfEnOGWXtnEFV5eozBQeubnHc_m4Rmms-PLil-TNKcLjmhxB38-WiFUHae3c9Mz0C6zTImVJZRaGKvoJuh95/s1600/m4cchinaa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUozzTjF4cKmYu-jsam8xr7Jk-CEDw2xmw82q7e1VnTGrabAByk3ZM9MX6zfEnOGWXtnEFV5eozBQeubnHc_m4Rmms-PLil-TNKcLjmhxB38-WiFUHae3c9Mz0C6zTImVJZRaGKvoJuh95/s400/m4cchinaa.jpg" width="400" /></a></div>
<br />
<span style="color: maroon; text-align: center;"> <a href="http://carlosdperales.es/" target="_blank">Carlos D. Perales</a></span><br />
<span style="color: maroon; text-align: center;"> <a href="http://www.perevicalet.com/" target="_blank">PereVicalet</a></span><br />
<span style="color: maroon; text-align: center;"><br /></span>
<span style="color: maroon; text-align: center;"> <a href="http://www.musicaelectroacustica.com/amee/webs_personales/gregorio-jimenez/" target="_blank">G</a></span><span style="color: maroon; text-align: center;"><a href="http://www.musicaelectroacustica.com/amee/webs_personales/gregorio-jimenez/" target="_blank">regorioJiménez</a></span><br />
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<span style="color: maroon;"> <a href="http://www.joseplluisgaliana.com/" target="_blank">Josep Lluís Galiana</a></span></div>
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<span style="font-family: Verdana, sans-serif;">No importan
las etiquetas, ni las categorías. Tampoco los estilos o los géneros. Sólo
interesa cómo suena y vemos nuestro entorno real, cómo se vive la cotidianeidad
y nos comprometemos con el instante.</span></div>
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="line-height: 21px; text-align: justify;">
<span style="color: white; font-family: Verdana, sans-serif;">Concierto presentación de <strong>M4cchina ensemble</strong> y su creación sonora-visual <strong><em>Local Landscapes</em></strong> en el<strong> <a href="http://ivm.gva.es/cms/es/festival-internacional-de-musica-contemporanea-de-valencia-ensems/details/747-m4cchinaensemble.html" target="_blank">35º Festival Internacional de Música Contemporània ENSEMS 2013</a></strong></span></div>
<div style="line-height: 21px; text-align: justify;">
<span style="color: white; font-family: Verdana, sans-serif;">Jueves, 30 de mayo de 2013, a las 23 horas. <strong>IVAM/Centre del Carme</strong> (c/ Museu – València)</span></div>
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<br /></div>
<b style="font-family: Verdana, sans-serif; text-align: justify;"><i>Local
Landscapes</i></b><i style="font-family: Verdana, sans-serif; text-align: justify;"> </i><span style="font-family: Verdana, sans-serif; text-align: justify;">es una creación
visual y sonora en tiempo real, en la que los diversos elementos audiovisuales,
musicales y lumínicos que operan simultáneamente son accionados e interrelacionados
desde la pulsión intuitiva de artistas que integran </span><b style="font-family: Verdana, sans-serif; text-align: justify;"><span style="color: maroon;">M4cchina</span>ensemble</b><span style="font-family: Verdana, sans-serif; text-align: justify;">.</span><br />
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyZlwG0OmT-xix4ANV0hhYP4PJZ_3XZCEW2NWFUOyqNlia89YInhgxyGLN_sBKuBK_C2i-P0wbFnOYrJSw3-H6F4hI94ZurSCk9M6BG5IX4pwtIgBD6hg5im98W3DH3iFCf9V40q0KY52/s1600/m4cchina+ensemble.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWyZlwG0OmT-xix4ANV0hhYP4PJZ_3XZCEW2NWFUOyqNlia89YInhgxyGLN_sBKuBK_C2i-P0wbFnOYrJSw3-H6F4hI94ZurSCk9M6BG5IX4pwtIgBD6hg5im98W3DH3iFCf9V40q0KY52/s400/m4cchina+ensemble.png" width="400" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b><span style="color: maroon;"><br /></span></b></span>
<span style="font-family: Verdana, sans-serif;"><b><span style="color: maroon;">M4cchina</span></b>
es un <b>ensemble</b> formado por cuatro
creadores interdisciplinares de amplia y reconocida trayectoria profesional en
los ámbitos de la experimentación musical y visual, así como de la
investigación musicológica.<o:p></o:p></span></div>
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span style="color: maroon;"><a href="http://www.perevicalet.com/">Pere Vicalet</a></span></b>, el más joven
del grupo, es un artista digital, compositor y director con gran experiencia en
la música electrónica y la investigación interdisciplinar.<b> <span style="color: maroon;"><a href="http://www.joseplluisgaliana.com/">Josep
Lluís Galiana</a></span></b>, saxofonista, compositor e improvisador de
contrastado reconocimiento internacional, ha compartido escenarios y grabado
con importantes figuras de la <i>free
improvised music</i>. <b><span style="color: maroon;"><a href="http://www.carlosdperales.es/">Carlos D. Perales</a></span></b>,
compositor, pianista y doctor por la Universitat de València, ha cosechado
numerosos premios internacionales en los ámbitos de la composición
electroacústica, la investigación del sonido y el <i>human/computer interaction</i>. <b><span style="color: maroon;"><a href="http://www.musicaelectroacustica.com/amee/webs_personales/gregorio-jimenez/">Gregorio
Jiménez</a></span></b>, catedrático de composición electroacústica y fundador
del Laboratorio de Electroacústica del Conservatorio Superior de Música de
Valencia, es uno de los más destacados especialistas españoles en <i>live-electronics</i> y sensores. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoBodyText2" style="margin-right: 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Fundadores de
otros grupos de creación interdisciplinar como Quartet de la Deriva, D'ArS
Ensemble, Mediterranean Electroacoustic Quartet, Inside, Ensemble Impromptu y House Distorsion, Big Band del Conservatorio Superior de
Castellón, entre otros, estos tres creadores e improvisadores han participado
en los más importantes festivales nacionales e internacionales de los cinco
continentes. Sus obras han sido estrenadas en Cuba, Estados Unidos, Grecia,
Francia, Polonia, Hungría, Suecia, China, España, Austria, Singapur, Colombia,
Argentina, Brasil, Bégica, Luxemburgo, República Checa…</span><o:p></o:p></div>
<!--EndFragment--><br />Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-24253422582407662642013-05-22T20:27:00.000-07:002013-05-22T22:29:30.848-07:00Tremolí Teatre - Homes i donesGairebé fa 10 anys, el dissabte 17 de maig de 2003, es va estrenar durant II Mostra de Sainets Gabriel Vicens d'Ondara l'obra "Homes i Dones". Aquesta obra fou escrita i representada pel grup revelació d'aquell any: Tremolí Teatre. Va meravellar tant al públic, que inicià un "tour" per diferents poblacions on tingué ocasió de representar de nou aquesta obra. Amés, hi hagué pobles on tingué tant d'èxit que es va representar més d'una vegada. Si bé, fou emesa per la televisió comarcal (coneguda com Canal37) durant tot l'any. <br />
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Tal i com resava el cartell de presentació, "aquesta obra és una original comèdia musical que tracta les diferències entre les dones i els homes. Està pensada, escrita i dirigida pel propi Tremolí Teatre. A més, l'actuació està amenitzada amb balls en directe del propi grup. (La diversió està assegurada)."<br />
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<b>El repartiment: </b><br />
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<div style="text-align: center;">
Gema Mulet - Maruja </div>
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Jordi Escortell - Ambrocio</div>
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Aina Mora - Rosa</div>
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<div style="text-align: center;">
Rebeca Diego - Pepica Simó</div>
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<div style="text-align: center;">
Adrià Mora - Jaumet</div>
<div style="text-align: center;">
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<div style="text-align: center;">
Paca Mari Signes - Amparito</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Tomàs Mengual - Ramonet</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Aina Monfort Salort - Casimira</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Pedro Vte. Caselles - Andrés</div>
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Després de deu anys, queden en el record diferents anècdotes durant el transcurs d'aquesta aventura, des de la creació de l'obra fins al muntatge de la mateixa. Si bé, també queden les notes de premsa dels diferents llocs on es va representar aquesta obra. Durant l'any 2003 i 2004, algunes de les poblacions on Tremolí Teatre va representar l'obra "Homes i Dones" foren: Gata de Gorgos, Ondara, Teulada, Jesús Pobre, Pedreguer, Xàbia,...<br />
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Un dels assistents, tot prest acabar la representació en el Centre Social de Teulada, ens feia arribar el seu goig davant l'actuació: "Ha estat molt bé. Hem tingut de tot: ens hem rigut, hem plorat i ens hem emocionat. Enhorabona!".<br />
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Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-41302623203445637992013-05-13T18:28:00.000-07:002013-05-13T19:33:45.607-07:00Premios Max 2013 (Teatro) - En un instante...<br />
Supongo que igual que alguno de vosotros, esta noche he aprendido un poco (de teatro) con los Premios Max. Entre discursos y actuaciones, mi mente se ha evadido por un momento y he visto como la Asociación Nacional de la Música Estatal convocaba los premios anuales de nuevas creaciones musicales.<br />
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Dichos premios estaban divididos en múltiples categorías: música de cámara, música solista, música folclórica, música fúnebre, música sacra, música coral, música orquestal, música electrónica, premios de gestión musical, premios honoríficos,... Además también existían modalidades de música para el teatro (Max-Musical), música para el cine (Goya-Musical), entre otros tantos premios para los intérpretes, grupos y como no, para los numerosos géneros musicales (in?)clasificables.<br />
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Asimismo, durante esta gran Gala Musical retransmitida por RTVE (dada su gran importancia - de interés general?), dicha Asociación comunicaba en directo los diferentes compositores galardonados con nuevos encargos de composiciones musicales para el año venidero. Además, comunicaba la obtención de más ayudas para ampliar la formación de nuevos creadores, asegurándose de este modo un contínuo arroyo de riqueza creativa tanto para el Estado, como para el arte y en definitiva, (cerrando el círculo?) para la sociedad, la cual se reeducaba con esta nueva cultura.<br />
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Mi imaginación me ha permitido ir más allá y también he visto a representantes gubernamentales (y cómo no, a comisionados de nuestra S¡¡G!!¿¿A??E), los cuales hacían relucir sus dialécticas para el público (en general?) y para los creadores músico-contemporáneos, (o debería decir músico-actuales?).<br />
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Por último, además, en ese justo instante, también he visto cómo las Editoriales y Sellos Discográficos más suculentos se sumaban a la iniciativa y facilitaban (in live/en vivo) nuevas creaciones y grabaciones digital-musicales, añadiendo más premios y publicaciones de obras sin otro fin que el de hacer constatar (en fotocopias y mp3?) nuestro gran patrimonio (artístico?)-musical-(cultural?) para que quedase reflejado en un gran archivo estatal. El patrimonio musical de todos nuestros actos y escenas (operística/os?) para la prosperidad(?).<br />
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Por un momento he visto a tantos y tantos músicos juntos fusionados en un acto de defensa conjunto. Sin prejuicios, sólo por la cultura que ellos producen. Por la causa que les ha llevado tantas horas de su vida y juntos para...<br />
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Todo eso ha sido por un momento.<br />
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"Sin quejarse. Sí se puede." En la gala decía (alg)uno que a su vez le había enseñado su maestro: "Es lo que... (hay?)"<br />
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Si has llegado hasta aquí, comenta, comparte y reflexionemos. Espero que después de todo, algún día pasemos a las (luces-cámara-) acción(es?).<br />
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<a href="http://perevicalet.com/" target="_blank">Pere Vicalet</a><br />
<a href="http://facebook.com/perevicalet">http://facebook.com/perevicalet</a>Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-69120112045785805222013-05-12T11:46:00.000-07:002013-05-13T19:41:52.997-07:00Instal·lació Sonora: Sona la Font<!--[if !mso]>
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Després de la primera instal·lació sonora a la Fira de Gata de Gorgos del 2009 anomenada <i>Elec al Carrer</i>, la segona fou <i><a href="https://dl.dropboxusercontent.com/u/16471424/Carlos%20D%20Perales%20i%20Pere%20Vicalet%20-%20Sound%20Workshop%20-%20Sona%20la%20Font.pdf" target="_blank">Sona la Font</a>.</i> Donat que aquesta entrada fa referència a la part tècnica, en el darrer enllaç podeu trobar la informació pel que fa a la documentació i filosofia d'aquesta instal·lació sonora, la qual fou exposada a la Font de la Plaça "Vella" de Gata de Gorgos, durant la Fira d'Artesania del 2010.<br />
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Ambdues instal·lacions foren realitzades per <a href="http://www.carlosdperales.es/" target="_blank">Carlos D. Perales Cejudo</a>, pianista, compositor i director d'Úbeda (Jaén) i per <a href="http://perevicalet.com/" target="_blank">Pere Vicalet</a>, compositor, director i artista digital veí del mateix poble de Gata de Gorgos (Alacant). No és fins aquest any 2013, on ambdós artistes no ens tornarem a unir una altra vegada per crear una nova formació <a href="https://www.facebook.com/events/182820695208118/" target="_blank">anomenada <i>M4cchina</i></a>, junt als intèrprets Gregorio Jiménez i Josep Lluís Galiana, essent la seua estrena el proper 30 de Maig a València durant en el Festival de Música Actual "ENSEMS".</div>
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<span style="text-indent: 35.4pt;"> Pel que fa a l'acció sonora, els principals motors de "Sona la Font" fóren tres sensors: un de proximitat (LV-MaxSonar-EZ) i dos de moviment </span><span style="text-indent: 47.20000076293945px;">(PIR)</span><span style="text-indent: 35.4pt;">. </span><br />
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Tal i com es pot veure en l'anterior foto, aquests tres sensors estaven connectats a una placa d'arduino, la qual rebia les dades dels sensors i les tractava en el seu processador mitjançant el codi que es va programar expressament, i posteriorment les enviava mitjançant XBee a un altre arduino.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBf_glCh6pxWjL51zE-Yl7AN6WMJ22DW_IQ76_8mjN32keTUoTLTfPBtbv_VXY9T3W6Z_FHil3-1nmeiNlPCkASboThM4Rieu9Hv3VCfDSByVVpGojnOh9jaoIRbiTpZIpiM7T_t24AI_e/s1600/teminal-maxmsp.tiff" imageanchor="1" style="clear: right; display: inline !important; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBf_glCh6pxWjL51zE-Yl7AN6WMJ22DW_IQ76_8mjN32keTUoTLTfPBtbv_VXY9T3W6Z_FHil3-1nmeiNlPCkASboThM4Rieu9Hv3VCfDSByVVpGojnOh9jaoIRbiTpZIpiM7T_t24AI_e/s1600/teminal-maxmsp.tiff" width="256" /></a>Xbee és gairebé un "plug-in" per a arduino que serveix per transmetre dades fins a una distància de 100 metres a l'aire lliure sense cablejat. Per tant, aquest altre arduino també proveït d'una altra Xbee, rebia les dades i les transmetia a l'ordenador per USB. Posteriorment, l'ordinador transformava aquestes dades en sons. Si el sensor de moviment s'activava, l'ordinador aleshores emetia melodies aleatòries controlades per un sintetitzador creat per a l'ocasió i cada 250 moviments reproduïa un so de campanes pregravades, esdevenint a la vegada un contador de visites de la mateixa instal·lació.<br />
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D'altra banda, el sensor de proximitat accionava el so de l'aigua quan algú s'aproximava a la Font, ja que aquest sensor estava situat a l'ull de l'aixeta de la Font i per tant, quan algú s'acostava a la Font amb la intenció "d'obrir el grifo", aleshores és quan feia "Sonar la Font", ja que aigua no tenia molta...</div>
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És menester agrair per últim, la col·laboració desinteressada de Sílvia Leyda, <a href="http://cronistadegata.blogia.com/" target="_blank">Miguel Vives (Cronista de Gata)</a> i Jaume Costa per la documentació de la Font, així com a <a href="http://www.factoriadidees.es/" target="_blank">Factoria d’Idees</a>, empresa organitzadora de la Fira per la predisposició tant econòmica com creativa davant aquest projecte.</div>
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One of my last acousmatic works has been released this year on <a href="http://perevicalet.blogspot.hu/2013/01/time-persecution-sounds.html" target="_blank">Time persecution sounds album</a>. This work, was also played in <a href="http://www.rtve.es/alacarta/audios/ars-sonora/ars-sonora-ritmos-electronicos-errores-bucles-19-01-13/1670302/" target="_blank">Classic National Radio of Spain on program Ars Sonora</a> in January. (You could check links for finding more information about <a href="http://perevicalet.blogspot.hu/2012/10/just-close-it.html" target="_blank">Just Close it!</a>). </div>
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Nowadays, I have just finished the part of the vídeo that will be premiered at <a href="https://www.facebook.com/events/111736309001660" target="_blank">Electro-Sound Night at Flix Castle (Catalonia)</a> the 3rd and 4th of August next summer. This video is elaborated with a real time effect constructed and developed by Max MSP Jitter. Video is reacting to the sound in different ways, manipulating then the matrix of the video. On following video there's a demo of beginning of this work. Let me know you're impressions. </div>
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Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-67733418600866442082013-01-31T13:34:00.001-08:002013-05-13T19:42:12.091-07:00Time persecution sounds <div style="text-align: center;">
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My first EP is named <b><span style="font-size: large;"><a href="https://www.recordunion.com/Music/Album/17774" target="_blank">"Time persecution sounds"</a></span></b> because one anonymous person provide this name in the social networks last Christmas (You could follow me on <a href="http://facebook.com/perevicalet">http://facebook.com/perevicalet</a> and in <a href="http://twitter.com/perevicalet)">http://twitter.com/perevicalet)</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gD5EgZ-GwmChXuVYJnGDTFEJSR2cq9rqC5boVSmMyeWyXQM8ADPYUsC5lPEULuGzyn8-GZXlJNcvF650ZRNyd5rTFbH9ApBHwCD2QL7siKdEcoHNjMymjFpgvCGiyXQMicCL7wSCugi5/s1600/Time+persecution+sounds+-+Pere+Vicalet+-+CoverArt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gD5EgZ-GwmChXuVYJnGDTFEJSR2cq9rqC5boVSmMyeWyXQM8ADPYUsC5lPEULuGzyn8-GZXlJNcvF650ZRNyd5rTFbH9ApBHwCD2QL7siKdEcoHNjMymjFpgvCGiyXQMicCL7wSCugi5/s320/Time+persecution+sounds+-+Pere+Vicalet+-+CoverArt.jpg" width="320" /></a></div>
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This album contain four songs in which you could appreciate the development from concret music to a more electronic sounds during the last four years. The four songs were released in respective AMEE collections years. </div>
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<a href="http://www.musicaelectroacustica.com/amee/wp-content/uploads/2008/09/portcd-copia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" class="aligncenter size-full wp-image-218" height="310" src="http://www.musicaelectroacustica.com/amee/wp-content/uploads/2008/09/portcd-copia.jpg" title="portcd-copia" width="320" /></a>First song is <b><span style="font-size: large;">"Hi ha trens que tan sols passen una volta..."</span></b> and it was composed in 2008 for the 60th birth of concret music, a tribute to Pierre Schaeffer. Historically, time has been a key element in our lives. There are many times in which we have been subjected by the devices we usually take in our hands. We try to control them. But sometimes they are faster. and others, they go slowly and angustios. Despair. It is a conventional objective, but at the same time is subjective. Unreal. Inevitable. Continuous. Even Quantum. They draw us to such a relative illusion. In many cases in which we waste time saying "time is gold." In addition, it is as irresistible as a dependent. Special. So special that is unstoppable. It gives us life and with it the evolution. It's unique. </div>
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How many times have we lost a train?</div>
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Next one is <b><span style="font-size: large;">"INSOMIO"</span></b>, it was published in the CD AMEE Collection vol. 2 in 2010. This work is about the feeling of an ostinato presented by multiple forms and rhythms recreating the situation in which we submit into the process of insomnia. The same sound as generating material is processed in different ways recalling different scenes of our life with emotions and distorted sound images, which are typical in our thoughts about the nightmare that fails to start ...</div>
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The following song is <b><span style="font-size: large;">"Colapse"</span></b>, from 2011. An experimental work for a Max MSP Patch with the purpose of doing a complaint to the society in which we live. A society where everyone depends in their own customs. A customs that we use to call "Society of welfare" and that almost involve all the otherwise. So, "Colapse" is thought as a sound action for processing randomly different samples which have been prerecorded and extracted by this "Society of welfare". The software for this random action is Max MSP and is developed for creating a ternary structure that when it starts it begins to collapse with more events sounds in each section. To the ending there is a such a collapse that program just corrupt it and collapse causing a crash in the software, making a bankruptcy systematic of the society. At least, collapse becomes a sound action derived from the stress. <br />
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Finally the last one is <b><span style="font-size: large;">"Just Close it!"</span></b> from 2012. The philosophy of this miniaturike work it's about fear and the certain melancholy that comes us when we have to change our customs. It's to say, when you have to decide important ideas for your life and you must close some doors. Precisely that's from where the title comes. Just close them! & Just close it!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxlIUa0keVDrbJrpYhlyT3l9DAChtCmVeiiY8-POoEtneDmMVHx5AIlnluy7Gf9A9TSuYFgEajMp57vesPXe92m26JYZNCvKrjk-rijTBBPKBKgHtVj18I6Q-CwGZ5zFoOXWEa3bCddYy/s1600/63315_boy&door_lg.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxlIUa0keVDrbJrpYhlyT3l9DAChtCmVeiiY8-POoEtneDmMVHx5AIlnluy7Gf9A9TSuYFgEajMp57vesPXe92m26JYZNCvKrjk-rijTBBPKBKgHtVj18I6Q-CwGZ5zFoOXWEa3bCddYy/s1600/63315_boy&door_lg.gif" width="168" /></a> In addition, it could be also understood as a critique to our society another time because we live governed by our customs and traditions. These facts don't allow us to be so much creative due to lots of unconsciously prejudices and nonsense obsessions that are in our minds. They don't enable us to close the doors and often limit our creativity.<br />
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The work was composed with Ableton Live, squeezing the Simpler instrument. The sound material has been constructed from three recordings of the same door while it was being closed. Some effects you could hear in this work are like resonators, delayers, saturators, transposers. Of course, in this work its also used Max for Live.<br />
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It was composed for the 25th Birth of the AMEE (Asociación de Música Electroacústica de España) on summer 2012, for not to stop the creativity and close this door of 25 years and open the next ones with lots of new sounds, new arts and definitely, new cultures. This work was premiered on Saturday, 27th of October 2012 in <i>Matadero </i>contempory arts center in Madrid at 18h. There were also premiered other works of composers like Josep Lluís Galiana, Vicent Gómez, Miguel Molina, Adolfo Núñez, Carlos Perales, Eduardo Polonio,... It has been played in Festival Punto de Encuentro in Valencia on the presentation of the XXV Cd, and also in Sevilla the 29th of November. Furthermore, it was launched in the Classic Radio of Spain the 18th of January of 2013. <a href="http://www.rtve.es/alacarta/audios/ars-sonora/ars-sonora-ritmos-electronicos-errores-bucles-19-01-13/1670302/" target="_blank">You could listen the critic here.</a></div>
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<iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F64943030%3Fsecret_token%3Ds-RbG7o&show_artwork=true&secret_url=true" width="100%"></iframe></div>
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All this works were composed in student period reviewed by Gregorio Jimenez, teacher of electronic music composition in the Superior Conservatory of Valencia Joaquín Rodrigo.</div>
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At least, this EP is about the time and how we feel and follow it in our particular way of living. You can listen and buy it on itunes, spotify, amazon, 7digital, eMusic, MusicRhapsody, Deezer and Juno.<br />
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Listen it in <a href="http://open.spotify.com/album/3XuL3hMcAboQagw4mLMAWd" target="_blank">spotify. </a></div>
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Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-66791528628571663692013-01-22T12:35:00.002-08:002013-01-22T13:33:44.083-08:00Pere Vicalet's Synth<div style="text-align: justify;">
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I present to you today a patch I developed at the beginning of 2011 when I was starting to use Max MSP. This was an exercise of class for constructing a synthesizer. As you can see in following picture there are 7 oscillators. In the first five you can create multiple sounds with synthesis AM, FM, choosing your waves, and also controlling ADSR randomly or on your own. About the last two, one is for creating sound moving video and the other is for playing some files. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwS2T3c7BFDWXmgdJgbhPlLWcKUwX2c7tGBGZ5xQywmTTqHmCs_0qLYSH_uSZzSkCNzzxLJE76uSsIyhIkxwg2nZEpyUQWGBKpXNToBAbBWg-RFotFo_T-6FJ5essn6UbuffrkzB5lRPmg/s1600/Captura+de+pantalla+2013-01-22+a+las+20.49.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwS2T3c7BFDWXmgdJgbhPlLWcKUwX2c7tGBGZ5xQywmTTqHmCs_0qLYSH_uSZzSkCNzzxLJE76uSsIyhIkxwg2nZEpyUQWGBKpXNToBAbBWg-RFotFo_T-6FJ5essn6UbuffrkzB5lRPmg/s400/Captura+de+pantalla+2013-01-22+a+las+20.49.31.png" width="400" /></a></div>
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There is a fx section with some effects: there are filters, grains, pitchers, transposers, reverbs,... when I use third parties that you can find in the folder. And sounds of this fx section can be directed to a master section by a matrix on top of master section. There's included a general filter for controlling master sound and a recording section also. </div>
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I started to create this synthesizer creating different patches in different folders. This made a very funny layer of cables when I constructed the huge patch with all oscillators and all fx. At that time I didn't use to organize objects in Max and also not to use the presentation mode. Because of this, if anyone try to understand what's happening here with the code, he has to be as patient as I was constructing it... See a part of the cables in this picture:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_T6S59djvNu0NNI3trwyS5jfgdraRiP5PuIiNGqtfoo9VfLtp5Jjn8iHyEDCniGqaxMe7kqXl4h9FZ7-pD553O-UuCQm_HtaP38mIC0jI8KlP5BB0GR13OkTpH-prjLWW1yhmlLWScAVq/s1600/Captura+de+pantalla+2013-01-22+a+las+20.49.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_T6S59djvNu0NNI3trwyS5jfgdraRiP5PuIiNGqtfoo9VfLtp5Jjn8iHyEDCniGqaxMe7kqXl4h9FZ7-pD553O-UuCQm_HtaP38mIC0jI8KlP5BB0GR13OkTpH-prjLWW1yhmlLWScAVq/s400/Captura+de+pantalla+2013-01-22+a+las+20.49.45.png" width="400" /></a></div>
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You can <a href="http://perevicalet.com/" target="_blank">download this patch in the download section here.</a> I'll appreciate your comments and feedback. Thank you very much.</div>
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Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-23104229142693657832013-01-22T09:21:00.000-08:002013-02-02T18:05:09.157-08:00All in one: Kinect Video Music Lighting Jockey - Kivimulij<span style="color: white;"><br /></span>
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<span style="color: white;"> All in one, is a project for investigating how powerfully can be M4L with implementation of all multiple possibilities. This is a brief demonstration of its possibilities. In this case there's a Kinect controlled by software Synapse that sends data into M4L devices for interacting with Live sound directly. After that, sound of Live creates video in live processing into Jitter data and at same time, Live sends an output data to another max patch device for controlling lights by DMXusbPRo of Enttec.</span></div>
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<span style="color: white;">Then we can use M4L for controlling sensors, music, video & lights: All in one computer!!!!!!!!</span></div>
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<span style="color: white;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/54DdrANWMtA?feature=player_embedded' frameborder='0'></iframe></span></div>
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<span style="font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="color: white; line-height: 19px;"> I use Max in All in one for controlling all incoming data from Synapse, to modify Ableton Live parameters and also for creating video processing with Jitter into Ableton Live as a new device corresponding with the color of the lights. Then, I can synchronize the lights on blue, and video output data also in blue changing with the music in realtime. </span></span><br />
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<span style="font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="color: white; line-height: 19px;"> You can see it on <a href="http://cycling74.com/project/all-in-one-kinect-video-music-lighting-jockey-kivimulij/" target="_blank">Cycling'74 page.</a></span></span>Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-89669914251944751212012-10-27T20:53:00.000-07:002012-10-27T21:09:33.023-07:00Ponencia Jitter en Max for Live<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman";">Durante los días comprendidos entre el 14 y el 18 de noviembre tendrá lugar en Valencia el próximo Festival Punto de Encuentro organizado por la Asociación de Música Electroacústica de España (AMEE). Además de conciertos, <i>performances </i>y acciones sonoras, también tendrá lugar el I Congreso organizado por dicha asociación y en motivo de la celebración de su XXV aniversario. </span></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"><i>Jitter </i>en <i>Max for Live </i>es el título de la ponencia que presentaré durante el tercer fin de semana de noviembre. Se trata de un proyecto basado en el Trabajo de Investigación realizado durante el </span><span class="Apple-style-span" style="font-family: 'Times New Roman';">último </span><span class="Apple-style-span" style="font-family: 'Times New Roman';">curso de composición en el Conservatorio Superior de Música <i>Joaquín Rodrigo</i> de Valencia. Este trabajo tuvo como objeto estudiar e investigar las posibilidades que ofrece <i>Max for Live</i> en la programación de vídeo con <i>Jitter </i>además de la creación de un set de diferentes dispositivos que próximamente se podrán descargar desde la web. A continuación hay una breve muestra de un sencillo y primitivo <i>patche</i> que realicé usando la entrada de audio para crear vídeo con los objetos <i>jit.catch~ </i>y <i>jit.graph:</i></span></div>
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El siguiente vídeo corresponde a otro de los dispositivos programados para trabajar con <i>Jitter </i>en <i>Max for Live.</i><i> </i>En este caso se utiliza el sensor <i>Kinect </i>para leer los cambios de la matriz de vídeo que se hallen dentro de los ejes x e y, e incluso se puede seleccionar para leer los cambios producidos entre los ejes x, y, z. Su función es cambiar de escena de <i>Ableton Live </i>a partir de los cambios hallados en el espacio<i>.</i> Por supuesto, este <i>patch</i> se puede modificar para crear más escenas en cualquiera de los tres ejes o incluso para cambiar las diferentes funciones que ofrece <i>Live.</i></div>
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Sinopsis:</div>
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<span style="font-family: "Times New Roman";">En las
primicias del año 2009, el horizonte de codificación de <i style="mso-bidi-font-style: normal;">software</i> audiovisual fue ampliado considerablemente con la fusión
de dos programas de reconocido prestigio en lo que concierne a la programación
y diseño de audio: <i style="mso-bidi-font-style: normal;">Ableton</i> <i style="mso-bidi-font-style: normal;">Live</i> y <i style="mso-bidi-font-style: normal;">Max MSP</i>. Robert Ableton Henke, desarrollador de <i style="mso-bidi-font-style: normal;">Ableton</i> <i style="mso-bidi-font-style: normal;">Live</i> y David Zicarelli, comandante de la empresa californiana <i style="mso-bidi-font-style: normal;">Cycling ‘74</i><span style="mso-spacerun: yes;"> </span>y en consecuencia propietario de <i style="mso-bidi-font-style: normal;">Max MSP</i>, fueron los pioneros en el
desarrollo de este proyecto denominado <i style="mso-bidi-font-style: normal;">Max
for Live</i>. Desde su aparición, los usuarios han encontrado un sinfín de
recursos que han permitido el buen engranaje entre ambos programas. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Consecuentemente
y en primer lugar, el objeto de esta ponencia es dar a conocer las opciones de
programación de audio que ofrece el entorno <i style="mso-bidi-font-style: normal;">Max
for Live</i>. Posteriormente y de modo más específico, pretende experimentar las posibilidades
de creación visual con la librería <i style="mso-bidi-font-style: normal;">Jitter</i>
dentro <i style="mso-bidi-font-style: normal;">Max for Live</i>:<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman";">¿Los
programas son compatibles en todas sus posibilidades o presentan algunas
incompatibilidades? <o:p></o:p></span></div>
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</span></span></span><!--[endif]--><span style="font-family: "Times New Roman";">¿Constituye
<i style="mso-bidi-font-style: normal;">Live</i> un entorno adecuado para la
programación de vídeo? ¿Aporta <i style="mso-bidi-font-style: normal;">Jitter </i>nuevos
campos de trabajo en <i style="mso-bidi-font-style: normal;">Max for Live?</i><o:p></o:p></span></div>
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</span></span></span><!--[endif]--><span style="font-family: "Times New Roman";">¿Es <i style="mso-bidi-font-style: normal;">Jitter</i> dentro de <i style="mso-bidi-font-style: normal;">Max MSP</i> el entorno más adecuado para la programación de vídeo en <i style="mso-bidi-font-style: normal;">Live</i>?</span></div>
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<!--EndFragment-->Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0tag:blogger.com,1999:blog-7284345986624720474.post-42416499427115216502012-10-26T18:45:00.000-07:002013-01-31T13:25:35.215-08:00JUST CLOSE IT!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxlIUa0keVDrbJrpYhlyT3l9DAChtCmVeiiY8-POoEtneDmMVHx5AIlnluy7Gf9A9TSuYFgEajMp57vesPXe92m26JYZNCvKrjk-rijTBBPKBKgHtVj18I6Q-CwGZ5zFoOXWEa3bCddYy/s1600/63315_boy&door_lg.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPxlIUa0keVDrbJrpYhlyT3l9DAChtCmVeiiY8-POoEtneDmMVHx5AIlnluy7Gf9A9TSuYFgEajMp57vesPXe92m26JYZNCvKrjk-rijTBBPKBKgHtVj18I6Q-CwGZ5zFoOXWEa3bCddYy/s1600/63315_boy&door_lg.gif" width="168" /></a><br />
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The philosophy of this miniaturike work it's about fear and the certain melancholy that comes us when we have to change our customs. It's to say, when you have to decide important ideas for your life and you must close some doors. Precisely that's from where the title comes. Just close them! & Just close it!</div>
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In addition, it could be also understood as a critique to our society because we live governed by our customs and traditions. These facts don't allow us to be so much creative due to lots of unconsciously prejudices and nonsense obsessions that are in our minds. They don't enable us to close the doors and often limit our creativity. </div>
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The work was composed with Ableton Live, squeezing the Simpler instrument. The sound material has been constructed from three recordings of the same door while it was being closed. Some effects you could hear in this work are like resonators, delayers, saturators, transposers. Of course, in this work its also used Max for Live. </div>
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It was composed for the 25th Birth of the AMEE (Asociación de Música Electroacústica de España) on summer 2012, for not to stop the creativity and close this door of 25 years and open the next ones with lots of new sounds, new arts and definitely, new cultures. </div>
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This work was premiered on Saturday, 27th of October 2012 in <i>Matadero </i>contempory arts center in Madrid at 18h. There were also premiered other works of composers like Josep Lluís Galiana, Vicent Gómez, Miguel Molina, Adolfo Núñez, Carlos Perales, Eduardo Polonio,... It has been played in Festival Punto de Encuentro in Valencia on the presentation of the XXV Cd, and also in Sevilla the 29th of November. Furthermore, it was launched in the Classic Radio of Spain the 18th of January of 2013. <a href="http://www.rtve.es/alacarta/audios/ars-sonora/ars-sonora-ritmos-electronicos-errores-bucles-19-01-13/1670302/" target="_blank">You could listen the critic here.</a><br />
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<iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F64943030%3Fsecret_token%3Ds-RbG7o&show_artwork=true&secret_url=true" width="100%"></iframe>Pedrohttp://www.blogger.com/profile/03132875278581467739noreply@blogger.com0