roland kuit
ローランド・クイト：音楽、科学、アートが交わる革新の場
César Bolaños
(b. Lima, Peru, 1931 - d. Lima, Peru, 2012) studied music in Lima at the National Conservatory of Music before travelling to the United States. There he initially studied at the Manhattan School of Music in 1959 and then went on to the RCA (Radio Corporation of America) Institute of Electronic Technology to study electronics between 1960 and 1963. In 1963 he moved to Buenos Aires, Argentina, having received a fellowship to study at CLAEM - Instituto Torcuato Di Tella with Ginastera, Nono, Messiaen, Copland, Maderna and Asuar, among others.
While at CLAEM, Bolaños composed his first tape piece, Intensidad y Altura (1964), which was the first electroacoustic music composition produced at the Centre, while its lab was still in the earliest stages of development. Intensidad y Altura is based on the poem of the same name by César Vallejo. At the time, CLAEM had three tape recorders of varying quality (one Ampex stereo, one Grundig stereo and one Philips mono), a white noise generator, a band-pass filter and a speed variation device. As sound sources, Bolaños used three voices, white noise and diverse metal plates.
Over the next several years, Bolaños worked extensively with electroacoustic and later computer techniques in his music, composing tape and mixed pieces and also using live electronics and multimedia.
César Bolaños - Interpolaciones (1966)
http://youtu.be/mq_GqjRNLN4
His works include Lutero, electroacoustic collage on tape for theatre (1965); Yavi, electroacoustic collage for a short film (1965); Dos en el Mundo, electroacoustic collage for a full-length movie, Las Paredes, electroacoustic collage on tape for theatre, and Interpolaciones for electric guitar and tape (all three works composed in 1966); Espacios I, Espacios II and Espacios III, electroacoustic pieces for dance (1966, 1967 and 1968 respectively); Alfa-Omega, based on biblical texts, for two reciters, theatrical mixed choir, electric guitar, double bass, two percussionists, two dancers, magnetic tape, projections and lights (1967); I-10-AIFG/Rbt-1 for three reciters, French horn, trombone, electric guitar, two percussionists, two technical operators (lighting panel, lighting keyboard and six radios), nine synchronized slide projectors, magnetic tape, and microphonic instrumental amplification (black lights for the individual scores are also required, and the general coordination is based on a programmed automatic light signal system controlled by perforated paper) (196
; and Flexum for magnetic tape and wind, string and percussion instruments (1969).
During his years at CLAEM, Bolaños taught composition from 1964 to 1970, in addition to teaching a workshop on composition using electronic media from 1964 to 1967. He was also in charge of the design and building of CLAEM's first electronic music lab.
An active researcher, Bolaños studied electroacoustics and music between 1964 and 1970, sound and image between 1965 and 1968, and computers and music between 1969 and 1970. During the latter period, he collaborated with mathematician Mauricio Michberg and received support from Honeywell Bull and later from Olivetti Argentina.
Bolaños used computers both as sound generation sources and to build compositional structures. ESEPCO is the generic name he used in the works he composed using computers and stands for "estructura sonoro-expresiva por computación" (computer sound-expressive structure). Sialoecibi (ESEPCO I) for piano and one reciter-mime-actor and Canción sin palabras (ESEPCO II), subtitled Homenaje a las palabras no pronunciadas, for piano with two performers and tape, both from 1970, are works representative of this stage.
After 1970, Bolaños devoted himself mainly to musicology research. However, between 1986 and 1993, he also taught a course on sound ("Sonorización") at the Faculty of Communication Sciences of the University of Lima.
Bolaños wrote several books, including Técnicas del montaje audiovisual, published by the National University of Litoral, Santa Fe, Argentina in 1969.
(b. Lima, Peru, 1931 - d. Lima, Peru, 2012) studied music in Lima at the National Conservatory of Music before travelling to the United States. There he initially studied at the Manhattan School of Music in 1959 and then went on to the RCA (Radio Corporation of America) Institute of Electronic Technology to study electronics between 1960 and 1963. In 1963 he moved to Buenos Aires, Argentina, having received a fellowship to study at CLAEM - Instituto Torcuato Di Tella with Ginastera, Nono, Messiaen, Copland, Maderna and Asuar, among others.
While at CLAEM, Bolaños composed his first tape piece, Intensidad y Altura (1964), which was the first electroacoustic music composition produced at the Centre, while its lab was still in the earliest stages of development. Intensidad y Altura is based on the poem of the same name by César Vallejo. At the time, CLAEM had three tape recorders of varying quality (one Ampex stereo, one Grundig stereo and one Philips mono), a white noise generator, a band-pass filter and a speed variation device. As sound sources, Bolaños used three voices, white noise and diverse metal plates.
Over the next several years, Bolaños worked extensively with electroacoustic and later computer techniques in his music, composing tape and mixed pieces and also using live electronics and multimedia.
César Bolaños - Interpolaciones (1966)
http://youtu.be/mq_GqjRNLN4
His works include Lutero, electroacoustic collage on tape for theatre (1965); Yavi, electroacoustic collage for a short film (1965); Dos en el Mundo, electroacoustic collage for a full-length movie, Las Paredes, electroacoustic collage on tape for theatre, and Interpolaciones for electric guitar and tape (all three works composed in 1966); Espacios I, Espacios II and Espacios III, electroacoustic pieces for dance (1966, 1967 and 1968 respectively); Alfa-Omega, based on biblical texts, for two reciters, theatrical mixed choir, electric guitar, double bass, two percussionists, two dancers, magnetic tape, projections and lights (1967); I-10-AIFG/Rbt-1 for three reciters, French horn, trombone, electric guitar, two percussionists, two technical operators (lighting panel, lighting keyboard and six radios), nine synchronized slide projectors, magnetic tape, and microphonic instrumental amplification (black lights for the individual scores are also required, and the general coordination is based on a programmed automatic light signal system controlled by perforated paper) (196
; and Flexum for magnetic tape and wind, string and percussion instruments (1969).During his years at CLAEM, Bolaños taught composition from 1964 to 1970, in addition to teaching a workshop on composition using electronic media from 1964 to 1967. He was also in charge of the design and building of CLAEM's first electronic music lab.
An active researcher, Bolaños studied electroacoustics and music between 1964 and 1970, sound and image between 1965 and 1968, and computers and music between 1969 and 1970. During the latter period, he collaborated with mathematician Mauricio Michberg and received support from Honeywell Bull and later from Olivetti Argentina.
Bolaños used computers both as sound generation sources and to build compositional structures. ESEPCO is the generic name he used in the works he composed using computers and stands for "estructura sonoro-expresiva por computación" (computer sound-expressive structure). Sialoecibi (ESEPCO I) for piano and one reciter-mime-actor and Canción sin palabras (ESEPCO II), subtitled Homenaje a las palabras no pronunciadas, for piano with two performers and tape, both from 1970, are works representative of this stage.
After 1970, Bolaños devoted himself mainly to musicology research. However, between 1986 and 1993, he also taught a course on sound ("Sonorización") at the Faculty of Communication Sciences of the University of Lima.
Bolaños wrote several books, including Técnicas del montaje audiovisual, published by the National University of Litoral, Santa Fe, Argentina in 1969.
