César Bolaños: La música es el jardín de las matemáticas

César Bolaños: La música es el jardín de las matemáticas - Documental

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Kamila Lunae

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@giacocarrera 8 жыл бұрын

Gracias, disfrute verlo, un abrazo.

@sirglegna 7 жыл бұрын

César Bolaños: He was undoubtedly one of the most representative personalities of avant-garde music for Peru. His task at first was musical. He once said that the term "avant-garde" seemed strange to him; he liked to think that he made unusual, unusual music. As a child he began studying piano with his father. Later, he entered the National Conservatory of Music in Lima. Upon graduating, he studied with Andres SAS, who would be his principal teacher in Lima. He studied electronic music in New York and obtained a scholarship in Argentina for the Instituto Torcuato di Tella in 1963, where he stayed for 10 years. After returning to Lima, he worked as a director in the music and dance office of the National Institute of Culture, thus beginning his research work. I publish a book on music and dance in 1978, becoming interested in the Peruvian Andes, Creole music and dances that I was learning about in his discovery. Since he started in ethnomusical research, Bolaños showed a great interest in aerophones. In the Museum of Anthropology, he learned and studied these musical instruments and their techniques in depth, exchanging constant information from archaeologists. It was in this way that years later he made an exhibition of musical instruments in 1980, which later gave way to the book ORIGIN OF MUSIC IN THE ANDES: MUSICAL INSTRUMENTS, SOUND OBJECTS AND MUSICIANS OF THE PRE-COLONIAL ANDEAN REGION. Despite being ignored by his country, Bolaños continued to work hard as a researcher. He was born in 1931 and practically gave up music in 1973 due to circumstances that played against him. When he returned to Peru, he found himself faced with the harsh reality of the country, where little interest in academic music and research did not allow him to continue creating. He was recognized more as an electronic than a musician, which is why he continued his path as a researcher since 1973. It wasn't until the mid-nineties that Bolaños was unable to continue with his research, health problems prevented him from continuing his work, but he continued to write about musical instruments, archaeology and musical history. César Bolaños always believed that musicians and historians should work together. He wanted to write until the end because, after leaving the music his interest in research was what filled his life In 2009, the cultural center of Spain in Lima paid him a living tribute with the book: TIEMPO Y OBRA DE CESAR BOLAÑOS. A study of the trajectory of one of the most audacious and exemplary figures of Peruvian music of the second half of the twentieth century. In his handling of rhythm, harmony and counterpoint he sought to find a new aesthetic through the abandonment and systematic cancellation or reformulation of the classical elements of music. He created lines of perfect alienation for his scores through musical writing and was also inspired by audiovisual and theatrical elements, playing with stage lights that would be explored as a dramatic resource. In 1964, his use of the magnetic band and electro-acoustic used him to compose four works for magnetic tape and five chamber works. Analysis, algorithms, scores and structure, a lifetime of passion for creating show us a master of composition who, despite not being with us anymore, left a personal language in each of his works. New parameters that are transported from its formation to its last days.