Nicolás Varchausky, Eduardo Molinari (eds.), Tertulia. Intervención en el Cementerio de la Recoleta
In the 2000s, electroacoustic music created something new in Buenos Aires. Composers recognized in the tradition, at the time centered around the concerts of the Laboratorio de Investigación y Producción Musical (LIPM), were interested in including sounds and spaces as materials and scenarios in th...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/transposition, |
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| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Anglais |
| Baskı/Yayın Bilgisi: |
Transposition
2021
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| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | In the 2000s, electroacoustic music created something new in Buenos Aires. Composers recognized in the tradition, at the time centered around the concerts of the Laboratorio de Investigación y Producción Musical (LIPM), were interested in including sounds and spaces as materials and scenarios in their works. Collaborating with artists from other disciplines, they took the speakers out of the concert hall. Works such as Intervención Pública #1 (2002) and Tertulia (2005) by Nicolás Varchausky ... |
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