It’s played with wet fingers, producing a wide range of sounds which can be surprisingly loud. The “Walfisch” is an instrument made of a nylon string, a steel spring, and a drum. Improvisation with Walfisch and Autodrum - no overdubs, special effects, or artificial reverb. The work uses exclusively the acoustic sound of 27 prepared guitars which are strummed by computer controlled dc motors hanging and oscillating over the strings.Ġ3- Philipp Läng - Small piece with Walfisch and Autodrum (3:10) (Suiza) This is an excerpt of a sound installation entitled "I still hear the soft roar of a distant crowd", a work based on an extended instrument that I have been developing in recent years leading to an exploration of the grey zone between the notions of noise and music, acoustic produced sounds and aural imagery. Instruments used: Ronda, Canoello, Roda, Mono, Buffer, Garlimba, Coif Plate, Fire Drum and Kora.Ġ2- Rubén D'Hers - I still hear the soft roar of a distant crowd (3:00) (Venezuela) The piece composed and performed by Maria Anália has varied tones of the instruments built and created by the author and explores the sonic possibilities of a diversity of life and sounds.Īlthough the name of the piece induces listeners to look for some resemblance to the sound of the sea we are used to, O mar proposes an active and imaginative listening to what this sea would be like… is it a sea?
#Musica con objetos sonoros pro#
This project is part of the experimental music and sound art platform Incidencias Sonoras: COINCIDENCIA, by the Swiss Arts Council Pro Helvetia.Ģ.- Rubén D'Hers - I_still hear_the roar of a distant crowd (3:00) (Venezuela)ģ.- Philipp Läng - Small piece with Walfisch and Autodrum (3:10) (Suiza)Ĥ.- Marco Scarassatti - Ọ̀bẹ (3.05) (Brasil)ĥ.- Claudio Merlet - Icaro (3:00) (Chile)Ģ.- Nicole L’Huillier – Escucha para Acelerador de Partículas, PARANCATADORA y voz (2:34) (Chile)ģ.- Edgardo Rudnitzky – Música Nocturna (2:57) (Argentina)Ĥ.- Álvaro Icaza y Verónica Luyo - Tripa con dientes (2:49) (Perú)ĥ.- Juan Pablo Egúsquiza - Uma Isis Esfera (3:00) (Perú)Ħ.- Javier Bustos – Aerodrones (3:00) (Argentina)ħ.- Zimoun - 1 prepared dc-motor, 1 mdf wheel, touch fasterner, mdf box 25x25x9cm (2:54) (Suiza)Ī fictional and fantastic sound space: O mar.Ī boat sails through a storm in a sea of sonic possibilities.
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Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene-to which it precedes-a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative-anti-hegemonic and DIY-forms of production. This latter aspect is the most directly evoked one on this album-and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Philipp Läng, Maria Anália), lead them towards radical extended versions (Rubén D'Hers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Álvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, Zimoun, Cod.Act, O Grivo), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities.
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Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called Plasticas Sonoras. Smetak was a pioneer of musical experimentation in that country and developed, in the 60s and 70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out of print for a long time, have been reissued today, hence the motivation for this tribute.
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Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil).
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Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music.