Collected works and writing
This site is my most recent attempt at collecting materials in one place. There are lists of projects/works and publications/writing which link to either more details or to actual materials. Some projects link to dedicated websites and some are fully documented here. The works section in include performance materials, scores, audio and video documentation as well as descriptions and sometimes programme notes and details of performances and public presentations. The writing section consists of references or links to papers published in academic journals such as Organized Sound, Contemporary Music Review, Performance Research, Leonardo or conferences such as NIME, ICMC, SMC, Mobile Music Workshop, ISEA amongst others.
Evocative Listening: Mediated practices in everyday life
Available now as FirstView Article, Organised Sound 2012
Evocative Listening: Mediated practices in everyday life
Rui Chaves and Pedro Rebelo
The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen’s University Belfast.
Trio
Graphic Score for Three Instrumentalists
First Performance: 11.11.11 Adapter Ensemble, Wien Modern
Trio - Page 1
Trio is a graphic score that explores relationships between each performer through the juxtaposition of graphic elements that suggest interplay between the three instruments. Each page represents a section in the music, lasting between 30 and 50 seconds with time being indicated horizontally. Although durations is interpreted freely within the proportional framework suggested by the graphics, events requiring synchronicity between players are annotated through a vertical line. Transitions between sections must also be articulated as a synchronous ensemble event. The ensemble should agree on a cueing strategy for each page to facilitate these events.
Netrooms performance in Ningbo, China
5th September, 18:30
The University of Nottingham, Ningbo
Digital Resources in the Humanities and Arts 2011
The Centre for Advanced Studies (CAS) at the University of Nottingham is delighted to host the 15th annual conference of the Digital Resources in the Humanities and Arts (DRHA) at the University’s Ningbo, China campus (UNNC).
For more info on Netrooms and to participate in this performance please visit the netrooms blog
Shadow Quartet
Shadow Quartet (2007)
for string quartet and four prosthetic violins
Commissioned by Miso Music Portugal for the Smith Quartet
First Page of Shadow Quartet
Cipher Series Performance in Istanbul
Performance of Cipher Series by Turkish pianist Basak Dilara Ozdemir at ISEA 2011 in Istanbul
Working Contingencies
20:00, 21 September 2011
Cipher Series is a collection of graphic scores that are displayed to audience and performers in accordance to a fixed temporal structure generated for each performance. The performance plays on the role of notation as a mediator of listening, setting up a performative condition based on interpretative strategies based on engagement by both the performer and the audience. The change from one graphic score to the next has immediate formal implications for the music and acts as a way of articulating shifts in musical material or interpretation strategy.
Fo(u)r Lines of Collission
Fo(u)r Lines of Collission (2008)
2 Flutes (doubling on bass flute and piccolo) and 2 Horns
First Performance: Weimarer Frühjahrstage für zeitgenössische Musik 2008
Commissioned by Carin Levine
Performance Notes
“Fo(u)r Lines of Collision” explores the space between synchronized and non- synchronized events distributed amongst the four players. By using mixed notational strategies, the piece presents the quartet with both metric time (through stopwatch markings) and flexible time (through events within mobile structures). The performance requires 4 synchronized stopwatches or a common, projected stopwatch. If using multiple stopwatches, these can be started before the performance and first 0ʼʼ marking cued by one of the players.
Fo(u)r Lines of Collission - Page 1
Zingaro, Schroeder, Rebelo and Mitzlaff
Carlos “Zingaro”, Franziska Schroeder, Pedro Rebelo and Ulrich Mitzlaff
15 July 2011, 22:30
Galeria LerDevagar | LxFactory
Lisboa
Cipher Notation Video
Quick example of how Cipher notation is produced…
New Work Commissioned by Sond’Ar-te Electric Ensemble
Quando Eu Nasci (Music by Pedro Rebelo and Words by Isabel Minhós Martins) is a commission by the Sond’Ar-te Electric Ensemble.
The piece is part of a project that aims to tell traditional tales and original stories as viewed by Portuguese composers today for both a younger and adult audience… The work is a large scale graphic score for narrator, flute, clarinet, violin, piano, cello and live electronics. The premiere is scheduled for the 11th June 2011 in Cascais, Portugal.
