Integral Version - Performace - Extended words / Palabras extendidas - for feminine voice - Textual Performance with Myriam Belfer (Singer performer) Gabriela Otero (Visual projection) - Composition: Gustavo Chab - 2014 -

Instruction , symbols, break words, segmentation , text improvisation, textual flow, truncated material, dissection, repetitions, fragments containing no text, vocal sound effects like heavy breathing, laughing, whistling, tongue clicks, sighs, humming, lip buzzes, trills, syllabic stress; coloristic context, incomplete words, contrast, large musical fragment, nonsense sounds, color changes... are words for this performance

"Sound Morphology" (Bil Smith Composer): The Modular Maestro, Roland Kuit.

"Sound Morphology" (Bil Smith Composer): The Modular Maestro, Roland Kuit.: The Maestro, Roland Kuit Roland Kuit, composer, is a iconic pioneer and a Key Innovation Leader in the field of Modular...

The Modular Maestro, Roland Kuit.

The Maestro, Roland Kuit

Roland Kuit, composer, is a iconic pioneer and a Key Innovation Leader in the field of Modular Synthesis. This man is a rare visionary who not only creates inventive soundscapes, but is able to craft evocative aural experiences with every step of his creative output.

“In my daily existence, research, lecturing and composing is one side of me. The other side is painting. I paint minimal monochromes. Looking at art and painting fills and regenerates me. I met the Art of Bil Smith via his music scores; outstanding works of art fitting for a museum. I found Bil's scores so intriguing I had to listen to his music.

I was surprised by the expressiveness he elicits from acoustic instruments. His sonic world is beyond the imaginary. He even surprised me more with his electronic music and electro-acoustic combinations.

Because of Bil I want start to compose for acoustic instruments again. I could only return this favor by composing a three part electronic work for him, but acoustic work will follow soon. Thank you Bil Smith!”

- Roland Kuit

Roland on Soundcloud:

https://soundcloud.com/roland-kuit

Roland is a kind, thoughtful person who gives much to those who seek his wisdom and advice...a rare individual.  Anyone who is interested in modular synthesis from novice to guru on the subject, should seek his wisdom.

"Sound Morphology" (Bil Smith Composer): Can an Asemic Writing/Compositional Aesthetic Be a...

"Sound Morphology" (Bil Smith Composer): Can an Asemic Writing/Compositional Aesthetic Be a...: Can an asemic writing/compositional aesthetic be a valid compositional lexicon?   I look to Ariel González Losada , Gustavo Chab , and...

Can an Asemic Writing/Compositional Aesthetic Be a Valid Compositional Lexicon?

Can an asemic writing/compositional aesthetic be a valid compositional lexicon? 

 I look to Ariel González Losada, Gustavo Chab, andAnat Pick for their keen insight. I think of Hans Robert Jauss, being the key figure associated with 'Reception Theory.' Mikhail Bakhtin's 'Dialogic Criticism', and Hervé Le Tellier, member of the international literary group Oulipo as guideposts of thought.

Ariel González Losada

My idea is to create a new system of notation embedded with apparent contradictions, but is itself based on the recognition that contradiction is the fundamental starting point of all musical departure, indeed all thought. 

The real kernel of ideation in this abstruse speculation is about the process involved in getting from nowhere to nothing. 

Gustavo Chab

From the brilliant mind of Gustavo Chab...

Gustavo Chab   "Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content".[1] With the nonspecificity of asemic writing there comes a vacuum of meaning which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. The open nature of asemic works allows for meaning to occur trans-linguistically; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work.

Some asemic writing includes pictograms or ideograms, the meanings of which are sometimes, but not always, suggested by their shapes. Asemic writing, at times, exists as a conception or shadow of conventional writing practices. Reflecting writing, but not completely existing as a traditional writing system, asemic writing seeks to make the reader hover in a state between reading and looking.

Asemic writing has no verbal sense, though it may have clear textual sense. Through its formatting and structure, asemic writing may suggest a type of document and, thereby, suggest a meaning. The form of art is still writing, often calligraphic in form, and either depends on a reader's sense and knowledge of writing systems for it to make sense, or can be understood through aesthetic intuition.

Asemic writing can also be seen as a relative perception, whereby unknown languages and forgotten scripts provide templates and platforms for new modes of expression. It has been suggested that asemic writing exists in two ways: "true" asemic writing and "relative" asemic writing.[2] True asemic writing occurs when the creator of the asemic piece cannot read their own asemic writing. Relative asemic writing is a natural writing system that can be read by some people but not by everyone (e.g. ciphers). Between these two axioms is where asemic writing exists and plays

The Asemic Continuum

Anat Pick

Influences on asemic writing are illegible, invented, or primal scripts (cave paintings, doodles, children's drawings, etc.). But instead of being thought of as mimicry of preliterate expression, asemic writing may be considered to be a postliterate style of writing that uses all forms of creativity for inspiration. Other influences on asemic writing are xenolinguistics, artistic languages, sigils (magic), undeciphered scripts, and graffiti.

Asemic writing occurs in avant-garde literature and art with strong roots in the earliest forms of writing. A modern example of asemic writing is Luigi Serafini's Codex Seraphinianus. Serafini described the script of the Codex as asemic in a talk at the Oxford University Society of Bibliophiles held on May 8, 2009."

Performace - Extended words / Palabras extendidas - for feminine voice - Short version - Textual Performance with Myriam Belfer (Singer performer) - Composition: Gustavo Chab - 2014 -

Instruction , symbols, break words, segmentation , text improvisation, textual flow, truncated material, dissection, repetitions, fragments containing no text, vocal sound effects like heavy breathing, laughing, whistling, tongue clicks, sighs, humming, lip buzzes, trills, syllabic stress; coloristic context, incomplete words, contrast, large musical fragment, nonsense sounds, color changes... are words for this performance

Improvisation IV - for piano - Harmonic fields - multiplication - harmonic domain - system of blocks of different structure - Interrelation - transposition derived - symmetry - concept / Composition Gustavo Chab

Composition of Gustavo Chab    
Duration ca 16.57 - 13.13  
Recordings  Haydée Schvartz
World Premiere  Luis  Mihovilcevic   Teatro Argentino de La Plata    2015

Sonoridades Alternativas - Miércoles 10 de junio - 20 hs. Teatro Argentino de La Plata – Sala Piazzolla Avenida 51 e/ 9 y 10 – La Plata Concierto n° 190 Obras de: Gerardi, Loudet, Mihovilcevic, Fiorino, Chab, Rak, Rivier, Kagel, Duarte, Ledesma Intérpretes: Luis García, Emiliano Pereyra, Bruno Stange, David Celentano, Gabriela Bantar, Juan Pablo Cuomo, Hugo Regis, Rubén Molinari, Irene Rodríguez, Florencia Rocca, Francisco Tello, Luis Mihovilcevic, Francisco Ciancio, Joaquín Flores, Mariano Caferri, Ensamble informe.

Installation - Instalación - Image sound movement - Imagen sonido movimiento sobre "Espacios ausentes" - 2015 - de Gustavo Chab - Composición musical 1996 - Idea y dirección general: Gustavo Chab - Dirección artística: Ramiro Larrain. Con la participación de Carla Filipcic - voces - .. al maestro Luigi Nono "La exploración y tratamiento de la voz en continua resonancia y modulante, es el espacio sonoro"

Instalación - Imagen Sonido Movimiento sobre "Espacios ausentes"  - 2015 -  de Gustavo Chab

Composición musical de 1996.

Idea y dirección general: Gustavo Chab

Dirección artística: Ramiro Larrain

Con la participación de Carla Filipcic - voces -
Duración 7.25"

dedicada al maestro Luigi Nono


"La exploración y tratamiento de la voz en continua resonancia y modulante, es el espacio sonoro"

CORPUS POETICUS

 • PRIMERA PARTE: "RUMBOS DEL POEMA"

1) "Turbia humedad en la fría noche" (de Pablo de Cruz)

Intérprete: Ricardo Schneider.

2) Instalación - Imagen sonido movimiento sobre "Espacios ausentes"  - 2015 - de Gustavo Chab

Composición musical - 1996  -

Idea y dirección general: Gustavo Chab

Dirección artística: Ramiro Larrain

Con la participación de Carla Filipcic en voces.

dedicada al maestro Luigi Nono

"La exploración y tratamiento de la voz en continua resonancia y modulante, es el espacio sonoro"

3) "Las manos de Jeanne-Marie" (de Arthur Rimbaud)

Composición e interpretación musical: Luis Mihovilcevic.

Intérprete: Alberto a. Arias.

4) "La mano que firmó el papel" (de Dylan Thomas)

Intérpretes: Ricardo Schneider y Alberto a. Arias

5) "Mano del amor pagano" (de Alberto a. Arias)

Lectura a cargo del autor.

6) "La muerte de García Lorca" (de Francis Schwartz)

Intérprete: Ángel Piccarreta.

Asistencia de dirección: Luis Mihovilcevic.

7) "Balada sepulcral" (de Alberto a. Arias)

Interpretación del autor.

Música de Luis Milhovilcevic.

Óleo: "Catrina Posada, reina de la

Primavera", de Cecilia Heredia.

• SEGUNDA PARTE: "COLOQUIO"

8) "Coloquio" (de Pablo Zukerfeld)

Presentación a cargo del autor.