With: Francisco Colasanto
Date: November 28th, 2018
Time: 18:30 – 20.00
Venue: London College of Communication (Directions)
Free with limited space. To reserve a place please email: firstname.lastname@example.org
Algorithmic composition – composing through the use of formalisable methods – has a long tradition, and not only in occidental music history. Guido of Arezzo who, with his “Micrologus de disciplina artis musicae” created a groundbreaking work of music theory as early as 1025, is today mainly known for inventing ‘solfeggio’ as well as his essential contributions to the development of musical notation (Nierhaus, Gerhard, 2009, Algorithmic Composition).
During this Points of Listening workshop, Francisco invites you to create different new works using his specially designed interfaces which bridge the divide between composition and instrument design. Each work will show a different facet of the hybrid world created by algorithmic composition, and you as audience/creator will be able to discuss and explore these novel masterpieces…
He will also give a brief presentation on algorithmic composition, chaotic generated material, analog synthesizers and modern eurorack modular systems and demonstrate how he creates video from audio material using similar processes.
Is it possible to generate musical form using these algorithmic techniques and tools? Come and find out – all of this is part of Francisco’s PhD research.
Francisco Colasanto was born in Buenos Aires, Argentina in 1971. Studied composition at Universidad Nacional de Quilmes and is doing his PhD at UNAM University whith Dr. Rodrigo Sigal as supervisor. Since 1996 he has been a very active composer specialized in music technology. He has lived in Mexico since 2006 He was awarded the following distinctions: Cultural Ministry of Spain (2000) , Fundación Antorchas (2003), Cultural Ministry of Spain (2006), Harvard University Studio for Electroacoustic Composition (Live Electronic Music Competition 2006), Juan Carlos Paz Prize (2004) granted by the “Fondo Nacional de las Artes” Argentina, Giga-Hertz award 2009 (ZKM, Karlsruhe), Ibermúsicas (2013).
He is currently assistant director of the Mexican Centre for Music and Sonic Arts (CMMAS) located in the City of Morelia, México and full time academic at ENES-UNAM. He composed music for several projects (dance, theatre, installations, movies, commercials). He is the author of the book: “Max/MSP: guía de programación para artistas”