In one respect you will probably find this paper rather unlike other papers being read at ISEA95: I shall not be speaking about recent technological developments. I would like to outline an aesthetical phenomenon arising from the union of two disparate musical media within the field of ‘high-art’ music: electroacoustic technology and folk instruments. This paper is a companion to the performance of music for charango and tape on Tuesday evening at the Pollack Hall. Attendance to that performance is necessary for full comprehension of the ideas which I shall be developing. However, it is not my aim to offer a programme note to that performance, nor do I intend to bore you with a technical analysis of the pieces concerned. Rather, my intention is to discuss the aesthetical background which gave rise to the composition of that repertoire.
- Agustin Fernandez, UK. Born in Bolivia in 1958, he studied composition in La Paz, Tokyo, Liverpool and London. He has received numerous commissions for opera, chamber, orchestral and electroacoustic works. He served four years as composer-in-residence at Queen’s University, Belfast. He currently lectures at Dartington College of Arts, England.
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