“La brume, et la plume du poète qui inquiète” for string orchestra will have its China premiere on Saturday, May 28, at the Beijing Modern Music Festival, conducted by Michaël Cousteau. I will give a masterclass at the Beijing Central Conservatory on Friday, May 27.
A choreomusical work conceived and performed by Carlos Guedes, Kirk Woolford, Nella Turkki and Cristina Ioan.
- Choreography & Dance: Nella Turkki
- Flute: Cristina Ioan
- Music: Carlos Guedes
- Video: Saguenail
- Motion Capture, video compositing & Animation: Kirk Woolford
- Lighting Design: Simon Fraulo (3/14 and 3/15, 2016) & Elinor Mhairi Burton (4/2 and 4/3, 2016)
- Sound recording & technical assistance: João Menezes
Premiere: March 14, 2016 at NYUAD Innovation Studio
The Arabic term jinn means “invisible beings.” The jinn are sentient beings who are composed from subtle matter. Before Islam, they were worshiped as gods, as tutelary deities, or as spiritual protectors not only in the Arabian Peninsula but also in neighboring areas…. In Qu’ran… there is mention that [the jinn] are created from ‘scorching winds’ and ‘a smokeless fire,’ and it is also said that they are like humans in that they are rational beings formed of nations
Medieval Islamic Civilization: An Encyclopedia (Ed. Josef Meri, 2006, p.420)
The concept of Jinn in Arab culture is used as a metaphor for addressing the question of the musicality inherent in human bodily movement. Movement sonification in musical ways has been one of my main interests when working with dance. Back in 2003, I developed software that could extract musical rhythms from dance movement in real time and use them has a means to articulate the music during performance. Since then I explored different ways of presenting the relationship between bodily movement in dance and its inherent musicality though the use of software that could help bring that relationship to the fore. 2003 was also the year I started collaborating with Kirk Woolford on developing artistic work that relates to the perception of human bodily motion, in pieces such as Côr ( Guedes, Ula li & Wollford, 2003), Will.0.w1sp (Wollford & Guedes, 2005) or Echo Locations (Wollford & Guedes) 2008).
In this piece, no software is used to establish this relationship. Instead, different perspectives for perceiving the relationship between bodily movement and its inherent musicality are presented in three distinct ways: (1) by performing the sonification of movement in real time with a musical instrument that was created for that purpose; (2) by removing the body from a video in which the sound and the trace left by the movement remain as the witnesses of this relationship; and (3) by presenting a synthetic rendering of the movement performed by the dancer in the form of a graphical particle system that gets synthetically sonified. As the body gets progressively dematerialized, the relationship between movement and its musicality becomes increasingly more apparent and clear.
On March 3, 1985 for soprano sax, snare drum, electric guitar, electronics and an indeterminate number of smartphones will be performed at Berklee’s Interdisciplinary Arts Institute in “Concert for 100 Mobiles” featuring a.bel, an application for smartphones enabling musical interaction developed by Rui Penha, Gilberto Bernardes, Alexandre Clément and others at INESC TEC’s SMC group .
Click here for more info.
Video of world premiere of “1985” at concert “A.BEL Nova Música Interactiva” at Casa da Música on October 26, 2015, by Gilberto Bernardes (soprano sax), André Dias (snare drum), and Óscar Rodrigues (electric guitar)
World premiere of 1985, for Soprano Sax, Snare Drum, Guitar, Electronics and an indeterminate number of smartphones, together with new pieces by Rui Penha (Cellular), José Alberto Gomes (To Pluto) and Neil Leonard (Telkari).
In Ambient/Soundscapes you can check some of my recent work in environmental sound manipulations and soundscapes
Phonambient is a project of transformation of contemporary sound heritage that will be showcased at Casa da Música 10-14 February, 2014. Creative approaches to sounds from several cities including Porto and Abu Dhabi, including the world premiere of my “Canon a 4 con uccelli obbligati” for 5.1. surround diffusion, made with sounds from Sir Bani Yas Island wildlife reserve captured in Ambisonic format.
Olivia (2004, choreography: Isabel Barros) will be showing during the month of December at 1ª avenida:
You can check the soundtrack here