online events of music, media and sound art
October 22nd 2021, 10.00pm (UTC+2)
Colombian electronic music
Bogotá’s District University
ASAB Faculty of Arts
students and guests
Andrés Santiago Gómez (1992)
for fixed media
Diana Ortiz (1993)
Pavana lanzada a la brisa (2021)
for voice (Natalia Merlano) and electronics
Jesús Buendía Puyo (1996)
No hay caminos (2020)
for fixed media
Sergio Cote (1987)
for shō (Chatori Shimizu), pink noise(s), and sine tone
Julián Vega (1999)
Y te abrazan mientras caes, y se esfuman al hacerlo (2021)
for fixed media
Artistic direction: Marco Bidin
Andrés Santiago Gómez
This work is about the use of different daily objects, recorded and combined with electronic means. It seeks to enhance different sensory reactions in the body, as a way of reaching and feeling each other through the distance given by confinement during this pandemic.
The sound serves as an extension of our body. The sonic vibrations and all the acousmatic experiences pretend to be similar to those different reactions that exist in the body when we are touched by others.
Pavana lanzada a la brisa
Pavana lanzada a la brisa ["pavane thrown into the wind”] is a piece for voice and electronics made in 2021 and commissioned by the Colombian soprano Natalia Merlano.
In the piece, I tried to build a text between a wordplay and some questions that keep going around my head about the concepts of identity as resistance, identity and its relation with territory and the feeling of perplexity when identifying with “the other”, “the other” that might be distant in many ways.
In the music, I used recordings made in collaboration with Natalia as input for the fixed media, combined with the use of live loops and some directed improvisation resources, trying to approach several timbre resources of the voice as an instrument.
Singer: Natalia Merlano Gómez
Composer: Diana Margarita Ortiz
Recording, mix and edition: Luca Gardani
Video production: Natalia Merlano Gómez
Video recording: Juan Merlano
Jesús Buendía Puyo
No hay caminos
As it happens in each of the short stories of Dubliners by James Joyce, according to my interpretation of them, the sonic reality in No hay caminos [No paths] presents (or perhaps represents) -a nothing-, an environment in which things happen, but, actually, nothing happens. The piece does not go from one place to another, it does not present any process, it only begins and ends, existing without being something beyond the nothing it represents. From the beginning to the end, in the piece the paths disappear, it is like staying still in a place, perhaps exclusively passing in time.
Headshot: (by Catalina Forero Ariza)
a1 [shō, pink noise(s), and sine tone]
shō: Chatori Shimizu
Recorded live, Ithaca, NY, March 16, 2019
a.1 is part of the ongoing series of pieces that explore the use of 4 filtered pink noise blocks, silence, and a sinusoidal tone. The piece explores:
1.The perception of distance concerning the recording of pink noise.
2.How the different noise bands affect our perception of the harmonic spectrum of each instrument with which the piece is played; in this case that of the shō
3.Precise micro-moments of halt that result in sudden changes or events.
a = pink noise(s) and sine tone
a.1 = shō, pink noise(s), and sine tone
a.2 = soprano sax, pink noise(s), and sine tone
a.3 = Bb clarinet pink noise(s), and sine tone
Y te abrazan mientras caes, y se esfuman al hacerlo
The piece structure, form and aesthetics are built under the premise that by accepting and welcoming adversity a heartwarming feeling can be found in it. The base material is the click, the glitch by excellence of the digital sound environment, which evolves in different ways throughout the piece. It is also projected as a form by creating a metaphorical click interrupting a musical idea, and then expanding such click over time as an imaginary sound micro-universe inside it reveals itself. The name is spanish for “And they hug you while you fall, and they vanish when they do”.
Andrés Santiago Gómez
Colombian composer and audio technician from Bogotá, last year composition and arrangements student at the Francisco José de Caldas District University. He participated as an active composition student in the “Jornadas de Música Contemporánea CCMC 2020”, where he premiered his first piece for flute, soprano voice and tape, entitled: 'IDentidades'. He has been an active member of the Contemporary Music Ensemble ASAB (EMCA) at the University.
Together with the composer Julian Medina, he published the article on musical analysis: "Music for eight persons playing things: an approach to the work of Jorge Antunes from the timbral thought" in the notebooks of Analysis and Debate on Contemporary Latin American Music 3 in 2020 of the National Institute of Musicology "Carlos Vega" in Buenos Aires, Argentina.
Diana Ortiz (*1993, Bogotá)
Diana Ortiz is a Colombian composer and orchestrator. She studied composition at the National University of Colombia. Her diverse interests and influences have led her to participate in different groups, festivals and competitions.
Her pieces have been performed by the National Symphony Orchestra of Colombia, the EAFIT Symphony Orchestra of Medellín, Atemporánea guitar quartet, among others. She is currently interested in gender, art and decoloniality issues
and works as co-producer in the “Festival Mujeres en la Música Nueva” [Women in New Music Festival] from Bogotá, Colombia.
Jesús Buendía Puyo (*1996)
Jesús Buendía Puyo is a composer, performer and improviser. He has participated in classes and workshops with Rodolfo Acosta, Juan Camilo Vásquez, Luis Fernando Sánchez, Johann Hasler, Diana Arizmendi, Ezequiel Menalled and Víctor Ibarra. His works have been performed by ensembles, including Ensamble CG, ul and Baho, and soloists, such as Carmen Morales, Juan Carlos Higuita and Andrés Pedraza.
In addition to this, he is part of the contemporary and experimental music duo Baho, focused mainly on the interpretation of Colombian composers' music.
Sergio Cote Barco (*1987)
Sergio Cote Barco is a composer, and improviser whose work focuses on different modes of listening, alternative music notation, and disobedient uses of technology. While dealing with musical scores as places of resistance and materiality, Cote Barco works with various kinds of noises (digital and analog), acoustic phenomena, and how these shape different kinds of listening. As an improviser, Sergio is part of the sound-based performance art duo, etc, and of the ambient-drone duo La Era del Ruido. He also collaborates with the singer and educator Valeria Barnier.
Cote Barco’s pieces have been performed and commissioned by ensembles such as the International Ensemble Modern Academy, Neopercusión, The [Switch~Ensemble], Ul música mixta, Mise-en Ensemble, Ensemble Taller Sonoro and the National Symphony Orchestra of Colombia; and featured in Festivals such as Thailand new Music and Arts Symposium (Bangkok, Thailand), Darmstädter Ferienkurse (Darmstadt, Germany), Contemporary Music Days (Bogotá, Colombia), Sacred Music Festival (Madrid, Spain), Miseen Festival (NY, USA), Casa Tomada (La Habana, Cuba), The Dog Star Orchestra (Los Angeles, US), among others.
Julián Vega is a composer born in Colombia. Started musical studies at the Guerrero Arts Academy in Bogotá as an electric guitarist interested in rock and jazz music. Later he was admitted to the faculty of arts of the Distrital University Francisco José de Caldas, where he is currently studying composition and arrangements with
professor Juan Camilo Vásquez. Since then, his musical interest has expanded to classical, academical contemporary and traditional colombian music. He is an active member of the EMCA (Ensamble de Música Contemporánea ASAB) ensemble as a piano, electric guitar and electronics player.