My practice is to be knowledgeable, proficient and the most complete musician that I can be. I am concerned, as much, with the details to the general plan in which a composition is made and realized; and the process that shape elemental materials in disarray forming complex networks. I feel privileged to have experienced the teachings of composers, scholars and performers-John Eaton, Anthony Braxton, Alvin, Lucier and Karlheinz Stockhausen.
A music education is a lifetime process of being the student and the teacher at the same time. This circle lead an individual to become a better, integral and more humble person, yet critical, to accept a non-conformity, original path so as to participate in the music of our time. Music embodies the history, politics, and sciences that pervade society. Aside, the saxophone, I play an extensive repertoire of piano music from the ultra-modern, classical and improvisation. I am fluent in Portuguese, French, Spanish, and several programming languages (Prolog, Lisp).
Music reflects, the ecology of sounds (acoustic and digital) and a hybrid form of synthesis between language, expression and concept. For example, in my multimedia composition, For One Night Only (2007), a live bird (old musical archetype) inside a cage pulls the petals of a blossoming, video projected plant with sound, exploring how nature and technology can interact. The bird motion and position controls the video motion forward or backward. Sounds, in the video, were recorded during the events, that transpired this day; where, I was composing a set of etudes using an electronic keyboard and violin.
My doctoral thesis composition, Solos (Dice Game) and Conductor (Neural Network) (2015) integrates interactive algorithms within a compositional web of solo pieces, ensemble and improvisations. Solo pieces were inspired on Mozart’s musical dice game. I composed schemes to generate musical material with dice roll probabilities. In turn, the music steer the digital network, where at the heart, a neural net (brain simulation) trained to identify or complement the sound input of performer responds according the musical premise.
In my recent pieces, compositional algorithms evolve materials within a structured form; morphing musical ideas between the non-deterministic and strict nature of music: linguistic and communication models. Technology shapes the present artistic landscape, along with the contemporary musician,