Felipe Pinto d'Aguiar
www.pintodaguiar.net
https://arquitectura-artes.uach.cl/escuela-de-artes-musicales-y-sonoras/
The works of Felipe Pinto d'Aguiar (1982) have been regarded as possessing 'emotional drive and intensity' [The Sydney Morning Herald]. Originally from Santiago de Chile, he has been involved in projects in more than fifteen countries across five continents, in which he has collaborated with Arcko Symphonic Ensemble, Sound Icon, the Consort Guitarrístico, the Orquesta Sinfónica Universidad de Concepción, Ensamble Contemporáneo UC, TimeArt Studio, Names Ensemble, Boston Musica Viva, Ensamble F(r)actura, Zone Expérimentale, the Cape Town Philharmonic Orchestra, and the JACK Quartet among others. He holds a D.M.A. in Composition from Boston University, where he studied with Joshua Fineberg thanks to a Fulbright grant. Previously, he completed a Masters of Music at The University of Melbourne, working with Elliott Gyger, and was also a student of Aliocha Solovera.
Described as one the 'most powerful Chilean voices born in the 70’s and 80’s' [El Mercurio], he takes inspiration from various sources, including visual arts, literature, films, daily life, and the natural world.
He is an Associate Professor at the School of Music & Sonic Arts at the Faculty of Arts and Architecture of Universidad Austral de Chile in Valdivia.
https://arquitectura-artes.uach.cl/escuela-de-artes-musicales-y-sonoras/
The works of Felipe Pinto d'Aguiar (1982) have been regarded as possessing 'emotional drive and intensity' [The Sydney Morning Herald]. Originally from Santiago de Chile, he has been involved in projects in more than fifteen countries across five continents, in which he has collaborated with Arcko Symphonic Ensemble, Sound Icon, the Consort Guitarrístico, the Orquesta Sinfónica Universidad de Concepción, Ensamble Contemporáneo UC, TimeArt Studio, Names Ensemble, Boston Musica Viva, Ensamble F(r)actura, Zone Expérimentale, the Cape Town Philharmonic Orchestra, and the JACK Quartet among others. He holds a D.M.A. in Composition from Boston University, where he studied with Joshua Fineberg thanks to a Fulbright grant. Previously, he completed a Masters of Music at The University of Melbourne, working with Elliott Gyger, and was also a student of Aliocha Solovera.
Described as one the 'most powerful Chilean voices born in the 70’s and 80’s' [El Mercurio], he takes inspiration from various sources, including visual arts, literature, films, daily life, and the natural world.
He is an Associate Professor at the School of Music & Sonic Arts at the Faculty of Arts and Architecture of Universidad Austral de Chile in Valdivia.
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Papers by Felipe Pinto d'Aguiar
Talks by Felipe Pinto d'Aguiar
In his article ‘Tempus ex Machina…’, composer Gérard Grisey discusses a number of examples in classical music, where the traditional flow of time is interrupted to explore timbre. I present and analyze further examples, including cases which are not characterized by ‘temporal suspensions’, but other parameters relevant for generating timbre. Then, I introduce the notion Musical OOPArt in order to organize evidence that shows a progressive focalization on timbre during the romantic period and its impact in the development of future spectral and timbre-based musical styles. September, 2020. ISBN: 978-960-99845-7-7
Articles by Felipe Pinto d'Aguiar
Papers [unpublished] by Felipe Pinto d'Aguiar
Book Chapters by Felipe Pinto d'Aguiar
In his article ‘Tempus ex Machina…’, composer Gérard Grisey discusses a number of examples in classical music, where the traditional flow of time is interrupted to explore timbre. I present and analyze further examples, including cases which are not characterized by ‘temporal suspensions’, but other parameters relevant for generating timbre. Then, I introduce the notion Musical OOPArt in order to organize evidence that shows a progressive focalization on timbre during the romantic period and its impact in the development of future spectral and timbre-based musical styles. September, 2020. ISBN: 978-960-99845-7-7