Oscar Edelstein - composer
Argentinean composer, pianist, researcher and director (Born 1953 in La Paz, Entre Rios - Argentina)
Oscar Edelstein is an original contemporary composer from Argentina, well known for creativity and inventiveness, and frequently described as leading Latin America's avant-garde.
He is a pianist, conductor, and researcher whose compositions are both acoustic and electro-acoustic. Alongside orchestral and ensemble works, he has made over forty works for theatre and dance, and over fourteen operas including "Los Monstruito" that was commissioned in 2006 by the experimental wing of Buenos Aires' opera house, Teatro Colón.
As a composer Edelstein has a fascination with the dialogue between art and science. He is developing a new ways to think about composition, aesthetics, pitch and harmony. This includes creating a system of control and notation of the acoustic space, which he calls The Acoustic Grid, and with a team of scientists making an entirely acoustic system of amplification using the scientific principal of Sonic Crystals.
In terms of style Edelstein's music is hard to categorize and he is known for the frequency with which he crosses the lines between genres. In a newspaper interview about his disc "Dos Improntus" he said, "No matter how strong I am within the field of contemporary music, I have always felt like a popular musician who studied. I always take care to look at music from the point of view of sensitivity and emotion."
Recent career highlights
Alongside many commissions, concerts, extensive press coverage (radio and broadsheet) and invitations to be keynote speaker at conferences and on award panels, Oscar Edelstein’s career has been highlighted by the following recent examples;
- 2011 Winner of prestigious award for outstanding artistic contribution from the Fondo Nacional de los Artes
- 2010 Selected for the scientific-cultural expedition“Paraná Ra’Anga”
- 2008 Awarded title “Citizen Illustrious”, Paraná
- 2006 Teatro Acústica becomes first arts research programme to be funded by science
- 2004 First disc in Latin America to be recorded in Super Audio (5.1)
La Carta Imaginaria (2014)
- A musical poem about that which is written - illusion, error and destiny.
Commissioned by the Ministerio de Cultura de la Nación for the Ciclo Iberoamericano de Ópera Contemporánea at the Centro Nacional de la Música (Buenos Aires), co-ordinated by composer Juan Ortiz de Zárate.
Oscar Edelstein (Composer, Libretto, Director), Edgardo Palotta (Musical Director), Lucas Werenkraut (Traveller 1), Natalia Cappa (Traveller 2) and Deborah Claire Procter (Hermes); accompanied by Agustin Araneda (Electronics), Lisandro Arpí (Bass Clarinet), Raúl Cela (Flute), Carla Giallorenzi (Viola), Carlos Adriano Herrera (Basson), Nicolás Padín (Guitar), Martín Proscia (Alto Saxophone), Nicolas Ruggiero (Clarinet), Leonardo Salzano (Electric Guitar), Lorena Torales (Piano), Pablo Torterolo (Percussion) and Marcelo Urbano (Double Bass).
Deborah Claire Procter (Multimedia Design); Jimena Chamorro (Scenography & Costume); Fernando Chacoma (Lighting Design); Alberto Schuster (Make-up); Deborah Claire Procter, Irene Robert, Maxi Lichy, and Max Edelstein (Video Realisation).
“La Carta Imaginaria works around the problem of destiny and repetition, planted as a game of violent children who are condemned to repeat the same history... It also deals with a reflexion on that which is written and not written, which relates to destiny and how it is translated to the score. [...] Not to disown the authorship, but a work of this kind is the result of quantities of stimulus and ideas that come up in the interpretation. And the interaction between many people that have distinctive styles, different strategies and professional fields: singers, instrumentalists, lighting designers, costume makers. The opera, as in the theatre, is a collective act. I’m interested in this conflict. The transference between the arts, unless you adhere to the conduct of very established genre, needs a certain freedom, a certain expansion, which inevitably leads to some errors of calculation, nevertheless, ends up being part of the truly creative.” Oscar Edelstein in interview with Diego Fischerman (music critic for Página 12)
Cristal Argento I (2010)
Basel Sinfonietta commissioned a new work by Oscar Edelstein in 2009. The work premiered in Basel on the 24th January 2011, Stadtcasino, Basel, and at Franziskaner Konzerthaus, Villingen-Schwenningen (Germany): 15th February 2011. It is a work for full orchestra with electronic process of the Sonic Crystal, and was conducted by Venezuelan conductor José Luis Gomez (IMG Artists) who won first prize in the 2010 International Conductor's Competition of Sir Georg Solti.
The electronic processes act like transparencies, Edelstein calls them " Dense Films and Machine Transparencies in the Mode of the Human Memory". They create an acoustic way to make a new edition that goes over the other, allowing the recovery of something that has happened earlier, but in a different way, time and space. "It's like a reminder of a dream - not as a machine memory - more human and diffused," says Edelstein.
In various places during the piece orchestral sounds are captured and processed using the "answer response" of the Crystal Sonic, a configuration that alters the sound and adds a special chamber and colour. The software programme was designed by the research team of Edelstein, LAPSO (Laboratory of Acoustics and Sound Perception), led by physicist Manuel Eguía, with mechanical engineer, Ignacio Spiousas at Universidad de Quilmes (Argentina) in the research programme of Edelstein "Teatro Acústico / Acoustic Theatre."
"We wanted to make a concert of modern Latin American music with a proper dramaturgy. I had the idea to commission a new work by an avant-garde composer, Oscar Edelstein, as a way to go from a more popular first part of the concert, to a more serious second half, or from the brilliant surface to deeper meaning." Thomas Nidecker, Basel Sinfonietta
Rhythmical - multilayered sound fields develop like waves. Edelstein’s close woven music, continuing the tradition of Edgar Varèse, has a force which goes under the skin with a great vitality. Christian Fluri, Basellandschaftliche Zeitung
The electronic part carries the game of the orchestra into another space, another world, another sound universe, like a dream, like a recollection, or how it looks through a kaleidoscope, a prism with various refractions. Roswitha Frey, Badische Zeitung
Ensamble Nacional del Sur (1997 - )
Edelstein directs the ENS - Ensamble Nacional del Sur - an electro-acoustic ensemble created by him in 1997. His performances with the ENS are considered by the specialist critics as "the most relevant musical events of recent decades in Argentina", "the highest point in the experimental production of the continent" and "a historical imprint in the production of the avant-garde". Concerts in both Brazil and Argentina have achieved an almost cult status.
Over the last ten years the ENS have developed an enthusiastic audience for their dynamic concerts and regularly receive rave reviews. They have a loyal following for their distinctive concerts and play in all the best venues: Goethe-Institut, Teatro San Martín, Teatro Payró, Centro Cultural Ricardo Rojas, Casa de la Cultura del FNA, Centro Nacional de la Música, and La Trastienda(Buenos Aires); Auditorio Nicolás Cassullo (Quilmes); Teatro Argentina (La Plata); Auditorio del CePIA, Facultad de Artes (Córdoba); Centro Parque España (Rosario); Tres de Febrero (Paraná), Auditorio Bustelo (Mendoza), and Sala Martins Penna (Brasilia).
The format may look like instruments associated with the world of rock or jazz but the result is something completely different. Comparisons have made between Edgar Varèse and Astor Piazzolla, or from Frank Zappa to John Cage, but really what speaks about the music of the ENS is its driving rhythm and relentless quest for originality.
Since 1997, the ENS has been recognized as a research group and is part of the research project, led by Oscar Edelstein, at Quilmes University, "Teatro Acústica" / Acoustic Theatre. Formed like a live music lab of musicians, composers, artists and technicians, each member works to gather new skills and multiply their knowledge of the art of contemporary music. hey train together intensively to "extend" the limits of their musical technique, develop new ways of playing, & to create the sensation of "Composition in the Act", or in the moment.
Edelstein conducts the group with a specially developed system of hand signals so that he can not only designate time and intensity, but also timbrical and spatial options. He traditional musical notation systems combined with new and 3-dimensional models that he has specially created. He sees the ENS as a new instrument.
… cult, absolutely original, ultra-powerful & new. Carlos Marín, El Diario
It's music in a physical sense, authentic dithyrambic music, realized simultaneously with millImetric accuracy…. Federico Monjeau, Clarin
An unpredictable journey around a class of sonorous poetry…From the most tenuous & crystalline, up to the real explosion, it’s a fundamental disc, for its importance & originality but, especially, for its power of communication. Diego Fischerman, Pagina 12
The choice of instruments can be easily associated to the world of rock, but it is only a sound- colour as the group is impelled by Edelstein to explore zones that go much further, for example, than the advanced experience of Robert Fripp. Martín Liut, La Nación
…the most important musical event of the last decade in Argentina. Diego Fischerman, Pagina 12
To develop this new musical battle between creation & technology [Edelstein] can count on an invincible instrumental army, the ENS. Martín Liut, La Nación
La Foto del Tiempo (2008)
In 2008 Teatro 3 de Febrero, Paraná (province of Entre Rios - Argentina) celebrated it’s centenary with the commission of a new work by Edelstein for guitar and orchestra. The Orquesta Sinfónica Nacional premiered the work under the direction of Pedro Ignacio Calderón and with the soloist Eduardo Isaac. At the same time the three were made "Ciudadano Ilustre" (Illustrious Citizen) as a tribute to their work in music.
Rivers and Mirrors: Part I (2007)
"Rivers and Mirrors: Part I" is a concert of piano, video and voice, subtitled "Monologue for Un-classic Piano, Perhaps in Six Parts with Two Impromptus - Like Lakes of Intuition - and an Invitation to Female Voice, Computer & Film."
The vocals and video were made by Deborah Claire Procter (Wales) with dancer Sandra Grinberg (Trisha Brown Dance Company) in the video. Music and images combined to create a strong atmosphere and sense of history. The concert meditates on the idea, "to be in the mirror or to cross the river."
The video was filmed in Buenos Aires in an abandoned factory, and the former national library made famous because it was where Argentinean writer Jorge Luis Borges worked.
Edelstein's particular distinction as a pianist is that he is a composer who plays the piano rather than a pianist. His non-standard "un-classical" approach to the piano is a search to open up new windows of sound and expression.
"[Edelstein] possesses a formidable pianistic technique…There is an intensity to the work that rarely loses its edge." Ray Picott, ILAMS (Iberia and Latin American Music Society, London)
"Edelstein's original music pushes the line between classical, contemporary and popular genres, and opens new windows of sound and expression." Karen Price Western Mail (Cardiff)
“Taking inspiration from myriad genres, the composer-cum-director-cum-pianist is one of the most innovative musicians around.” Sophie Hern, Metro (Cardiff)
In this performance the combination of sound and images creates a theatrical experience as much as a musical one. It is in line with Edelstein's project as a composer to investigate the "theatre of memory."
In this performance the combination of sound and images creates a theatrical experience as much as a musical one. It is in line with Edelstein's project as a composer to investigate the "theatre of memory."
The video was made possible through a grant from the Arts Council of Wales and Wales Arts International.
The concert made a tour of the UK in 2006; Tabernacle, Machynlleth; Corbett Road Concert Hall, Cardiff, and Bolivar Hall, London.
Act I - Soprano (Marisú Pavón) & Harmonica (Luis Salto)
Los Monstruito' (2006)
According to the press office of Teatro Colón "Los Monstruito" was “one of the most attractive premieres proposed in recent years by CETC (Centro de Experimentación del Teatro Colón)... As much as for the brilliant artistic paths of it’s authors, both emblematic in their respective fields, as for extremely controversial nature of it’s thematic content.”
The opera takes the metaphor of the three protagonists floating in a bubble outside of the reality of the world. It referred to the era of president Menem when one pesos equaled one dollar creating a “fiesta” and a buy now pay later mentality. This eventually led to the 2001 crisis in Argentina, to which many parallels have been drawn with the recent crisis in Europe, including it being nick named the “Tango Crisis.”
"Eterna Flotacion: Los Monstruito" was commissioned in 2006 by the experimental wing of Teatro Colón (CETC). Based around the political era of Carlos Menem, it was the first work to cover this period.
Chosen by poet Rodolfo Enrique Fogwill (1941 - 2010) on behalf of the Centre for Experimentation of Teatro Colón, Oscar Edelstein started the work of composing the opera in 2005. He made the script from two poems of Fogwill, "Contra el Cristal de La Pecera de Acuario" (Against the Glass of the Aquarium) and "El Antes de los Monstruito" from the book "Lo Dado" (The Given), transforming them into a continuous discourse that functions as a dramatic text.
It was staged in Teatro Margarita Xirgu (Buenos Aires) 20th, 21st, 22nd and 23rd September 2006.
"The aria Marisú Pavón sings in Act I with Luis Saltos' on-stage harmonica, and the hesitating breathing of the orchestra is anthological. Pavón shines from note to note." Federico Monjeau, Clarín
“...the show captivates because it’s carried out by a group of notable artists that demonstrate in every movement to have worked on a delivery seldom seen on the stage.” Juan Carlos Montero, La Nación
"Oscar Edelstein opens new horizons for modern music and opera in Argentina." La Nación
Described in his obituary, by Guardian critic Nick Caistor, as the “Outspoken writer who captured the violence and unpredictability of life in Argentina", Fogwill was a professor at the University of Buenos Aires, publisher of a legendary poetry book collection, essayist, and specialized columnist in communication subjects, literature and cultural politics. He was an award winning Argentinean sociologist, short story writer and novelist.
Los Monstruito' was the second work in which the colleagues and friends Fogwill and Edelstein worked together, the first being in 1997 when Fogwill was the recorded voice of a Pessoa poem in Edelstein's Klange, Klange, Urutaú.
Dos Improntus (2006)
In 2006, Edelstein released his CD, Dos Improntus, a work for piano and accordion, recorded with Raúl Barboza, the most famous popular folkloric accordionist in Argentina recognized as a chamamé artist of international status.
"Dos Improntus" is a dialogue between a piano and an accordion. The disc demonstrated how Edelstein continually pushes the musical line between the classical, the contemporary and the popular. Edelstein's motivation in asking Barboza to record with him was part of a desire to create a synthesis of the classical and the popular, to make an exchange where each could understand something new about the other.
“A collision of musical planets…Raúl Barboza and Oscar Edelstein realize a project together that breaks barriers, genres and prejudices.” La Nación
It is the musical meeting of composer and pianist, Oscar Edelstein, and accordionist, Raúl Barboza. The disc places the best of the popular, and the best of the contemporary classical, side by side and has caused much discussion in Argentina and Latin America about musical culture and it's divisions into different genres.
Sacred Theory of the Acoustic Space - Book I (2004)
First disc in Latin America conceived and recorded in Super Audio. The disc is multi layered so can be played in Super Audio, 5:1, or Stereo.
- Prologue and Introduction [4:38]
- Acoustic Grid - Gear [11:12]
- Omega 2 Omega 3 [1:49]
- H [10:28]
- Choir of the Sacred Theory of the Acoustic Space: Book 1 [3:03]
- Free [13:36]
- Epilogue - Shadows' Art
“Edelstein makes history with the first recording in Super Audio in Latin America." Martín Liut, La Nación
“The rhythmic organization ranges between a geometric form (a chromatic progression that erases the pulse) and forms an additive trail. Both forces are invoked mutually, rescuing a type of expression a little forgotten in the contemporary music. Maybe the music of the ENS has it’s spiritual precedent not in the electro-acoustic laboratory but a little before, in the percussive Ionisation of Edgar Varèse.” Federico Monjeau, Clarín
“With the ENS, Edelstein has found an "instrument" capable of making electro acoustic music, but with a blood like grip. The complex polyrhythmic textures and tímbres are the platform to launch the exploration of the space in three dimensions, an obsession that, now, Edelstein can register in a top format..." Martín Liut, La Nación
Tiradentes - The Dream of Heroes (2003)
Having written many operatic works (that Edelstein prefers to call “Acoustic Theatre”) it is "Tiradentes" that is perhaps the most noteworthy for its scale, vision and political impact. Composed to take place over three days taking over various parts of the city of Brasilia, it was the first opera to speak about the figure “Tiradentes” (Tooth Puller) who Edelstein calls "Brazil's only real national hero.”
"Tiradentes" (Joaquim José da Silva Xavier) led a revolt in 1789, known as the “La conspiración de Minas Gerais” - which for Edelstein was avant-garde because it was way before the French Revolution, and was the first act of self-determination in Brazil, contributing many many years later to Brazil's independence. The revolt failed and the body of Tiradentes was quartered into several pieces.
Edelstein’s opera was to be staged throughout Brasilia (Brazil’s famous model city designed by Oscar Niemeyer who was strongly influenced by Le Corbusier) in a symbolic re-assembling of the body of Tiradentes.
The complex project involved a team of more than two hundred actors, plastics artists, technicians and musicians from both countries, collaborations between Universidad de Quilmes and Universidade de Brasília, and received the backing of UNESCO and funding from prominent foundations. However, the project in its entirety was ultimately postponed by a combination of factors, including the controversy that the history of Tiradentes provoked (such as Tiradentes' known links to the freemasons), political and diplomatic problems between Argentina and Brazil, and political issues in Brazil. Though it is a project that was fully conceived, composed and scored by Edelstein; finally only part of it was performed. Edelstein hopes to one day complete the project as a film.
Sacred Theory of the Acoustic Space - Book I (2000)
The artistic result of research into dynamic control of acoustic space and it's artificial and illusory concepts.
"ENS, an invincible musical army, win a new battle between creation and technology." La Nación
Electric Guitar - Richard Arce; Electric & Acoustic Bass - Gerónimo Carmona; Acoustic Piano - Mario Castelli; Keyboards - Mariano Cura; Percussion - Diego Romero Mascaró, & Electric Guitar - Nicolás Varchausky
El Hecho (1998)
The work was made in memory of Juan Carlos Paz ( the composer who first brought ideas of the Second Vienna School to Argentina). It was inspired by the graphic design of Paz' score, Seis eventos [Six Events] - his last work that never musically realised. Edelstein says "I was interested in the moment when Paz chose, instead of the precise path, the labyrinth. I wanted to create from that act, from that "fact." This was the first work to pay homage to the famous Argentine composer.
"The theatrical idea is deep and the musical realization is fascinating" Clarín
"A true experimental work that opens new horizons for musical theatre in Argentina." La Nación
Original first staging: Electric Guitar - Richard Arce; Electric & Acoustic Bass - Gonzalo Serrano; Acoustic Piano - Mario Castelli; Keyboards - Mariano Cura; Percussion - Pablo Siroti; Electric Guitar - Nicolás Varchausky; Drums - Matías Gonzalez Goytia; Actors - Paula Ortega, Rodolfo Demarco, Poli Bontas; Images - Julián Teubal; Scenography - Julio Cardoso
"El Hecho" was re-staged as "O Fato" in Brazil in 2003.
Klange Klange Urutaú (1997)
Based on a poem of Fernando Pessoa "Oda Triunfal"
"Ah...being able to fully express myself as an
Being complete as a machine
Going triumphantly through life as the latest
"An hour of music without interruptions, a great statement with deeply connected and differentiated sections, where the interest does not weaken for an instant." Clarín
"If something defines the musical production of Edelstein it is the monumental character and the complexity of his discourse." La Nación
Electric Guitar - Richard Arce; Electric & Acoustic Bass - Gonzalo Serrano; Acoustic Piano - Mario Castelli; Keyboards - Mariano Cura; Percussion - Pablo Siroti; Electric Guitar - Nicolás Varchausky; Drums - Matías Gonzalez Goytia; Choir - Ana Larreategui, Marcela Sotelano, Osvaldo Ledesma, & Armando Noguera. Voice on tape: Rodolfo Fogwill.
Early career & Musical Training
Between 1970 and 1986, he completed his early music formation in the province of Entre Ríos. Then, in Buenos Aires, Edelstein independently studied composition, orchestration, analysis, composition with electronic media, and new techniques of music analysis with various important Argentinean composers, among them José Maranzano, Mariano Etkin, and Francisco Kröpfl.
Edelstein was a scholarship holder at the C.I.C.M.A.T- Centro de Investigaciones en Ciencia, Material, Arte y Tecnología (the former Instituto Di Tella) in 1974 to 1977. In 1985-1986 he was one of the three young musicians selected to work at the Laboratorio de Investigación y Producción Musical (L.I.P.M.). His project, "Study and application of digital medium in musical composition" was supported by a scholarship of the "Fundación Antorchas" between 1989-1991.
Edelstein held a scholarship in science and technology to work on several projects related to music production with computers at the "Centro de Investigación Musical" of the University of Buenos Aires (CIM-UBA).
All these projects were pioneers in Argentina in the field of artificial intelligence applied to music and the analysis of the discourse in music with computers. In 1992 he was the youngest artist to win the "Antorchas' Scholarship for Outstanding Artists of the Intermediate Generation" and during the award composed his first opera "El Telescópio".
Edelstein was co-founder along with Carla Fonseca and Federico Monjeau of Lulú - Revista de Teorías y Técnicas Musicales (Magazine of Musical Theories and Techniques). This ground-breaking specialist music magazine, published between 1991 and 1992, was the first journal in Latin America to speak about contemporary music, and made a unique contribution to the theoretical diffusion of the contemporary arts in Argentina during the1990’s. Edelstein contributed various articles and was also on the editorial board along with Omar Corrado, Ernesto Epstein, Mariano Etkin, Carla Fonseca, Gerardo Gandini, Francisco Kröpfl, Gustavo Mirabile, Erik Oña, Juan Pablo Renzi, and Carmelo Saitta.
A facsimile edition of the first four publications was released in 2009 by the Biblioteca Nacional.
Music for Theatre and Dance:
For many years Edelstein collaborated on many theatre productions in Buenos Aires with renowned theatre director Roberto Villanueva, including productions of Tabori’s “Las Variaciones Golberg” with leading actor Alfredo Alcón(2003), Gallipolli’s “Relato Directo” (2002), Albee’s “El Juego del Bebé” starring Norma Aleandro (2001), Estrázulas’s “Borges & Perón” (1998), “Sumario De La Muerte De Kleist” (1998) , “El Secreto de la Luna” (1998), Handke’s “Las personas no razonables están en vías de extinción” (1997), Discépolo’s “Amanda y Eduardo” (1997), Gallípoli’s “Botónico” (1997) and many others. He has also worked with directors and designers in Brasil like Ge Orthof, Hugo Rodas and Fernando Villar.
Oscar Edelstein also wrote music for several works of choreographer Silvia Pritz; Insanas (2006) in Centro Cultural Borges (Buenos Aires) for piano and female voice with texts from discourse of de facto President of Argentina and military dictator, Juan Carlos Onganía; Temblor de Fe (2002); Hasta donde??!! (2002) in Teatro San Martin & Centro Recoleta (Buenos Aires) for piano “El Tigre Viejo” based on the poem “El Tigrero Simón Caravajal” by Jorge Luis Borges; Tangos Científicos (1989) for strings bandoneón & piano in Magdalena Aotearoa International Festival of Women's Performance (New Zealand,1999), Contemporánea ´95 - Centro Recoleta, and Teatro Alvear (Buenos Aires), and various other festivals.
Association of Argentinean composers:
In 1980 he was invited into the emblematic avant-garde association of composers founded by Juan Carlos Paz, "Nuevas Musicas", and later, together with other young composers, he created and directed "Otros Musicas", in 1985 to facilitate the diffusion of contemporary music in Latin America.
Intriguing study of acoustic design of various cathedrals
Research & Education:
In 1986, Edelstein founded the ”Centro de Investigación Musical“ at the University of Buenos Aires, remaining on its board of direction until 1992.
Since 1995, he has taught orchestration, composition, and composition with electronic media for the course of Music Composition with Electronic Media of the Universidad Nacional de Quilmes (UNQ), where he is a Senior Professor (Profesor Titular DE, CCME, UNQ). As a qualified university researcher he is also the Director of the award winning research programme, ”Teatro Acústico“ (Acoustic Theatre), and is responsible for the “Permanent Workshop in Research, Creation and Production.”
Oscar Edelstein was one of the especially invited guests teachers along with Marcelo Moguilevsky, Ernesto Jodos Nora Sarmoria and Mariano “Tiki” Cantero selected across the musical genres of folkloric, jazz, contemporary and popular to lead an intensive residential masterclass, "Encuentro Argentino de Improvisación y Composición Musical", supported by the Fondo Nacional de las Artes and the Secretaría de Cultura de la Nación. Young professional musicians from across Argentina were invited to apply for the course, with forty being selected for each encounter, the first of which took place in the town of Villa Gesell in September 2012 and the second was in San Juan in December 2013. The philosophy of the masterclass was that the students had the opportunity to work with top musicians in their field in order to consider the tension between composition and improvisation, across various genres, and without stylistic pre-conceptions.
A composer is that which are his (her) materials. Also the mode in which he organises, edits and mixes these materials with others, but what we call technique, that which we name Personal Technique - in capitals - already appears in the process of creation and/or selection of the materials, in how they are generated and followed.
If we accept the formula of material, organisation and discourse (MOD) as an intertwined triple axis in which the material organises and generate a discourse that then returns to the change as another kind of material, improvising would be to cross - more or less freely - inside some of these stages. A spontaneous update of the acquired resources.
Improvisation can function as a method for musical composition: the two activities interlink and feed of each other. Oscar Edelstein for programme for students of "II Encuentro Argentino de Improvisación y Composición Musical"
Edelstein has given graduate and post-graduate based on his own works, theories and composition techniques for the most prestigious Latin American institutions, and various European countries among them; Royal College of Music, Guildhall School of Music (London), University of Central England (Birmingham), Royal Northern College of Music and Drama (Manchester), University of Wales (Aberystwyth); and University of Music and Performing Arts (Vienna).
A fascinating read on the development of acoustic experiments.
Coffee table book full of imaginative takes on the form of a musical score.
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