Doktorandkonsert – Bruno Faria
Doktorand Bruno Faria disputerar i musik och ger med anledning av det en konsert på Palladium Malmö.
Ämne: Exercising musicianship anew through soundpainting: Speaking music through sound gestures.
Själva disputationen tar plats på Inter Arts Center, Röda rummet Bergsgatan 29 i Malmö, fredagen den 3 juni 2016, kl 10.00.
Bruno Faria (Brazil): Soundpainter, flutes (contrabass, alto, piccolo, and regular) & live electronics
Walter Thompson (USA): Soundpainter
Sabine Vogel (Germany): Soundpainter, flautist
Jennifer Rahfeldt (Sweden/US): soundpainter, multidisciplinary artist
Studenter från musikerutbildningen vid Musikhögskolan i Malmö/Lund universitet
Marta Torkilsdóttir (flute), Marianne Thomsen Clement (alto flute), Christine Clancy (piccolo flute), Agata Tuchołka (flute), Steinunn Vala Pálsdóttir (flute), Walter Thompson (flute, soundpainting), Jennifer Rahfeldt (guitar, voice, soundpainting), Sabine Vogel (bass flute, soundpainting), Martin Dalin Volsnig (violin), Dan Schyman (double bass)
Åsa Wirling (lights), Ola Wirling (sound), Kent Olofsson (sound), Andreas Amble (photography/filming)
The final performance on the 2nd of June marks the end of this artistic-academic PhD journey by bringing together its different elements. The tools to be used in the performance are my own body, a set of flutes, a computer, and soundpainting-sketches. An extended flute voice opens a wide expressive palette that ranges from the depths of lower sounds afforded by the rarely seen and heard contrabass flute, the peculiar percussive sounds that can be produced through its keys and by channelling different forms of articulation through the instrument’s tube, through the varied sound colours and possible shades of meaning that spring from the virtuosity of performance afforded by the alto and regular flutes, to the whistling tones of the piccolo flute. The characteristic melodious sounds of flutes become enriched when contrasted through various kinds of extended techniques such as tongue rams, multiphonics, slides, whispering, whistling and singing into the instruments, among others. The electronics add the possibility of further transfiguration of sounds and exploration of different densities as sonorities are processed and weaved together as the performance unfolds. Sound strokes of different kinds fill the openness set through the conventional signs of Soundpainting (see Context below for more on Soundpainting) and their transformed being in the ideogrammatic notation of soundpainting-sketches.
For partners in Soundpainting dialogues I will have fellow musicians from the Malmö Academy of Music and from the Region Skåne plus other distinguished professionals involved with the practice of Soundpainting. Among the latter are the composer, multi-instrumentalist and creator of this medium, Walter Thompson; the multidisciplinary artist and leader of the Swedish Soundpainting Orchestra, Jennifer Rahfeldt; and the Berlin-based flautist, improviser and composer Sabine Vogel. The music to be played is unknown. It will be discovered as we speak music through sound gestures. Gradually the blank silence of such a space of discovery will be filled with signs from Soundpainting and beyond.