23
FEB
2013

Horacio Vaggione

2013_vaggione_1
Professor Cátedra Manuel de Falla 2013

Biografía y catálogo de obras completo:
http://www.cdmc.asso.fr/fr/compositeurs/biographies/vaggione_horacio

CICM-Universite de Paris VIII:
http://cicm.mshparisnord.org/


  • Horacio Vaggione nació en Córdoba, Argentina, en 1943. Realizó estudios de composición en la Universidad Nacional de Córdoba. Doctorado en musicología por la Universidad de Paris VIII. Becario del Fulbright Fund (Estados Unidos), toma contacto con las primeras manifestaciones de la informática musical con Lejaren Hiller en la Universidad de Illinois (1966). Miembro del Grupo Alea de Madrid (1969-1973), fue luego compositor en residencia en diversos centros: IRCAM, IMEB, INA-GRM, así como en diversas universidades europeas y norteamericanas. Becario del Servicio Academico de Alemania (DAAD, Berliner Kunstler Program, 1987). PremioNEWCOMP (Cambridge, Estados Unidos, 1983). Euphonie d’Or (Bourges, Francia, 1992).

    Premio ICMA (International Computer Music Association Award, 1992), Premio Ton Bruynel (Amsterdam, 2010), Premio Giga-Hertz (ZKM, Karlsruhe, 2011).

    Su catálogo incluye obras instrumentales, electroacústicas (acusmáticas o interactivas) y mixtas. Entre las más recientes: Atem, para trompa, clarinete bajo, piano, contrabajo y dispositivo electroacústico (2003) ; Gymel, para dispositivo electroacústico (2003) ; Taléas, para flautas Paezold y dispositivo electroacustico (2004) ; Arenas (2007) ; Préludes suspendus III (2009) ;Gymel IV, para piano (2010) ; Points critiques (2011) ; Consort for convolved violins, para 3 violines y dispositivo electroacústico (2011) ; Consort for convolved pianos, para dispositivo electroacústico (2012).

    Horacio Vaggione reside en París desde 1978. Profesor titular en la Universidad de Paris VIII desde 1989, director del programa de doctorado Composition et Recherche desde 1994, funda en 1996 el CICM (Centre de Recherche Informatique et Creation Musicale). En 2012 se convierte en Profesor Emérito en la misma universidad.

  • Horacio Vaggione (born in Córdoba, 1943) is an internationally recognized composer with an impressive catalog of electroacoustic music works.

    After his early compositions in Córdoba “Música Electrónica I” for tape in 1960; “Ensayo sobre mezcla de sonidos”, “Ceremonia” and “Cantata I” in 1961; “Música electroacústica II”, “Hierro y espacio” and “Ananke” in 1962; “Ritual” in 1963; “Hierro y espacio II” in 1964; “Sonata 2” , “Sonata 3” and “Sonata 4”, all three for piano and tape, “Salmo” for tape, and the multimedia piece “Untitled”, for 4 instrumental groups, live electroacoustic processings, movements and lights, in 1965; “Tres piezas electrónicas” and “Cálimo II” for tape, in 1966; “Fausto”, for electronic sounds and orchestra, also from 1966; “Tierra-Tierra” for tape between 1966 and 1967; Vaggione composed pieces like: “Suite para cinta magnética” for tape, and “Electrata” for live electronics, in 1967; “Inauguracion de la Conexion” for live electronics in 1968; “Interfase” for live electronics in 1969, realized at Studio ALEA in Madrid, Spain; “Modelos de Universo II” for instruments (flute, clarinet, violin, cello, piano) and computer generated sounds on tape in 1970; “Kalimo” for live electronics, and “La maquina de cantar” for computer, both in 1971; “Kala” for live electronics, and “Modelos de Universo III”, version for computer solo, both in 1972; “Triage” for 20 tapes and live electronics in 1974, realized at Mills College, California, United States; “Ending” between 1975 and 1976; “Comme le temps passe” for ensemble and electronics, and “Four Streams” for ensemble and electronics, both in 1977; “Autour-Frames” for piano and 4 synthesizers in 1978; “L’Art de la mémoire” for live electronics, between 1970 and 1979; “Daedalus” for electronic and instrumental ensemble in 1980; “Septuor” for electronic ensemble in 1981; “Octuor” for computer generated sounds on 8 tracks tape, realized at IRCAM in Paris, in 1982; “Fractal A” for computer generated sounds on 16 tracks tape in 1982; “Charybde” for tape in 1983; “Fractal C” for computer generated sounds on 16 tracks tape, and “Strata” for tape, both in 1984; “Thema” for saxophone and tape in 1985; “Set” for bassoon and tape, and “Tar” for bass clarinet and tape, both in 1987; “Scir” for bass flute and tape in 1988; “Holos” for percussion, live electronics and tape between 1989 and 1990; “Ash” for tape in 1990; “Till” for piano and tape in 1991; “Kitab” for bass clarinet, double bass, piano and live electronics in 1992; “Leph” for piano and live electronics in 1993; “Schall” for tape in 1994; “Rechant” for tape in 1995, realized at INA-GRM in Paris; “Myr-S” for cello and live electronics in 1996, realized at IMEB in Bourges; “Frayage” and “Nodal”, both for tape, in 1997; “Agon” for tape, and “Champs parallèles” for tenor sax and UPIC system, both in 1998; “Préludes Suspendus II” for tape in 2000; “Phases” for clarinet, piano and live electronics, and “24 Variations” for tape, both in 2001; “Petite Suite” for tape, “Atem” for French horn, bass clarinet, double bass, piano and live electronics, and “Harrison Variations”, all three for tape, in 2002.

    Some of Vaggione’s articles and reports are: “Composicion musical y ordenador”, published in Boletin del Centro de Calculo n° 18, Universidad de Madrid, 1970; “Un sistema de sintesis numérica por ordenador”, published in Boletin del Centro de Calculo n° 23, Universidad de Madrid, 1972; “Mixing procedures formalized: a graph theory approach”, Research Report, Contemporary Music Center, Mills College, Oakland, California, 1974; “Sur Fractal C”, Research and creation report, IRCAM, Paris 1983; “Poly-phonies: critique des relations et processus compositionnels”, doctoral thesis, Département Musique, Université Paris VIII, 1983; “The Making of Octuor”, published inComputer Music Journal, Vol.8 No. 2, The MIT Press, United States, 1984; “Projet Informatique Musicale. Propositions pour la création d’un Centre d’informatique musicale à l’Université de Paris-VIII”, report, Contrat d’Etudes Compagnie IBM France – Université de Paris-VIII, 1985; “On Object-based Composition”, in O. Laske (editor): Composition Theory. Interface Journal, Vol. 20 No. 3-4, Amsterdam, 1991; “Determinism and the False Collective. About Models of Time in Early Computer Aided Composition”, in J. Kramer (editor): Time in Contemporary Music Thought. Contemporary Music Review, Vol. 7 No. 2, London, 1992; “Computer Music: The relationship between Micro and Macro-Time”, in S. Macey (editor): The Garland Encyclopedia of Time. Garland, New York, 1993; “Timbre as Syntax: an Spectral Modeling Approach”, in S. Emmerson (editor): Timbre in Electroacoustic Music. Contemporary Music Review, Vol. 11 No. 1, London, 1994; “Articulating Micro-Time”, published in Computer Music Journal, vol.20 No.1 20, The MIT Press, United States, 1996; “Singularité de la musique et analyse: l’espace d’intersection”, in Analyse en Musique Electroacoustique, Bourges, Editions Mnemosyne, 1996; “Son, temps, objet, syntaxe. Vers une approche multi-échelle dans la composition assistée par ordinateur”, in Musique, rationalité, langage. Cahiers de philosophie du langage No.3, Ed. L’Harmattan, Paris, 1998; “Transformations Morphologiques”, in Actes des Journées d’Informatique Musicale (JIM) 1998, LMA-CNRS, Marseille, 1998; “Composing with Objects, Networks and Time Scales”, published in Computer Music Journal, Vol.4 No.3, The MIT Press, United States, 2000; “Some Ontological Remarks about Music Composition Processes”, published in Computer Music Journal, Vol.25 No.1, The MIT Press, United States, 2001; “Composing Musical Spaces by Means of Decorrelation of Audio Signals”, published in the Proceedings of the European Digital Audio Effects Conference (DAFx) 2001, University of Limerick, Ireland, 2001; “Décorrélation temporelle, morphologies et figurations spatiales”, in Actes des Journées d’Informatique musicale (JIM), Marseille, GMEM, 2002.

    Horacio Vaggione lives at present in France

    See Reference