Mario Duarte
Mario (b. 1984) was born in Mexico City. After completing his studies in classical guitar, musicology and composition in his country, he travelled to the UK to complete a Master´s degree and a PhD under the supervision of Ricardo Climent at NOVARS Research Centre, The University of Manchester.
Mario completed a postdoctoral research fellow in Music and Technology at The National Autonomous University of Mexico and CMMAS under the supervision of Rodrigo Sigal.
He is a composer interested in the crossover between Science, Literature and Pre-Columbian cultures. His music has been played in festivals in Mexico, Czech Republic, Italy and at Huddersfield Contemporary Music Festival and New Music North West.
He has worked as a producer and scriptwriter of contemporary music broadcasts at Opus 94.5 FM Instituto Mexicano de la Radio (2009) and as a music teacher IB MYP (2011-12). In 2010 he founded the program Comunidades Sonoras - Sound Communities, a social music project that works with urban marginalized and social excluded people in Mexico City.
Mario has been awarded 3rd place at the National Composition Competition for the 150th anniversary of the Mexican National Conservatoire of Music (2016). Resident composer of the Collaboration program MX-UK for emerging composers CMMAS, the University of Huddersfield and Sound and Music (2015), the second prize at the International Composition Competition Foro Internacional de Música Nueva Manuel Enríquez (2015), 2nd place at the Sound Art Competition Asamblea Legislativa del DF (2014), CONACYT Scholarship for PhD studies, The National Council for Science and Technology (2013) Victor Sayer Award The University of Manchester (2012), FINBA Scholarship for master's degree studies, The National Institute of Fine Arts Foundation (2012), and the 4th place at Janácek–Revueltas First International Composition Competition in Prague, Czech Republic (2008).
His doctoral research concerned the development of a tool for sonification of DNA structures for music composition was listed as one of the Top-ranked Thesis in Arts, Science and Technology in 2019 by LEONARDO Journal, MIT Press.
Mario is a member of Sistema Nacional de Creadores de Arte at the Ministry of Culture of Mexico. An Associate Professor in Music and Technology at ENES Morelia, The National Autonomous University of Mexico (UNAM), Postgraduate Supervisor at The Faculty of Music (UNAM) and a lecturer of Sound Art and Mixed Media Composition at The University of the Arts of Yucatán (UNAY).
https://orcid.org/0000-0002-3540-6647
https://duartemario.com/
https://comunidadessonoras.org/
[email protected]
Mario completed a postdoctoral research fellow in Music and Technology at The National Autonomous University of Mexico and CMMAS under the supervision of Rodrigo Sigal.
He is a composer interested in the crossover between Science, Literature and Pre-Columbian cultures. His music has been played in festivals in Mexico, Czech Republic, Italy and at Huddersfield Contemporary Music Festival and New Music North West.
He has worked as a producer and scriptwriter of contemporary music broadcasts at Opus 94.5 FM Instituto Mexicano de la Radio (2009) and as a music teacher IB MYP (2011-12). In 2010 he founded the program Comunidades Sonoras - Sound Communities, a social music project that works with urban marginalized and social excluded people in Mexico City.
Mario has been awarded 3rd place at the National Composition Competition for the 150th anniversary of the Mexican National Conservatoire of Music (2016). Resident composer of the Collaboration program MX-UK for emerging composers CMMAS, the University of Huddersfield and Sound and Music (2015), the second prize at the International Composition Competition Foro Internacional de Música Nueva Manuel Enríquez (2015), 2nd place at the Sound Art Competition Asamblea Legislativa del DF (2014), CONACYT Scholarship for PhD studies, The National Council for Science and Technology (2013) Victor Sayer Award The University of Manchester (2012), FINBA Scholarship for master's degree studies, The National Institute of Fine Arts Foundation (2012), and the 4th place at Janácek–Revueltas First International Composition Competition in Prague, Czech Republic (2008).
His doctoral research concerned the development of a tool for sonification of DNA structures for music composition was listed as one of the Top-ranked Thesis in Arts, Science and Technology in 2019 by LEONARDO Journal, MIT Press.
Mario is a member of Sistema Nacional de Creadores de Arte at the Ministry of Culture of Mexico. An Associate Professor in Music and Technology at ENES Morelia, The National Autonomous University of Mexico (UNAM), Postgraduate Supervisor at The Faculty of Music (UNAM) and a lecturer of Sound Art and Mixed Media Composition at The University of the Arts of Yucatán (UNAY).
https://orcid.org/0000-0002-3540-6647
https://duartemario.com/
https://comunidadessonoras.org/
[email protected]
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Papers by Mario Duarte
Resumen
Esta investigación explora 3 ámbitos o esferas que intervienen en el estudio de la música electroacústica en el medio rural mexicano. El artículo es una reflexión teórica que se desarrollo a partir de la implementación de un programa educativo en una comunidad rural en Michoacán, México. En este texto se analizan los factores sociales, estéticos y pedagógicos que influyeron en los procesos de enseñanza y aprendizaje de la electroacústica en escuelas multigrado. El análisis de estos ámbitos y su influencia en los estudiantes podrán ser considerados para la implementación de programas educativo-musicales.
investigated the employment of computational systems and gadgets to approach younger audiences. This
paper describes the design and implementation of an interactive music system used as a tool for an
electroacoustic music course for children in a rural c
ommunity. The system comprises a MaxMSP digital
interface and an OSC Controller app for Android. Graphic User Interfaces were created in MaxMSP in
order to process individual musical parameters, this can be controlled by mobile devices using Open Sound
Control OSC protocols. The interactive system was used by children (6-15 years old) to explore sound
worlds during a series of electroacoustic music courses and workshops.
Latin America is a continent full of contrasts, and in various places throughout the countries, space reflects the history of each nation through its architecture. We find pre-Hispanic pyra- mids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifesta- tions have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space.
This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts.
Resumen
Esta investigación explora 3 ámbitos o esferas que intervienen en el estudio de la música electroacústica en el medio rural mexicano. El artículo es una reflexión teórica que se desarrollo a partir de la implementación de un programa educativo en una comunidad rural en Michoacán, México. En este texto se analizan los factores sociales, estéticos y pedagógicos que influyeron en los procesos de enseñanza y aprendizaje de la electroacústica en escuelas multigrado. El análisis de estos ámbitos y su influencia en los estudiantes podrán ser considerados para la implementación de programas educativo-musicales.
investigated the employment of computational systems and gadgets to approach younger audiences. This
paper describes the design and implementation of an interactive music system used as a tool for an
electroacoustic music course for children in a rural c
ommunity. The system comprises a MaxMSP digital
interface and an OSC Controller app for Android. Graphic User Interfaces were created in MaxMSP in
order to process individual musical parameters, this can be controlled by mobile devices using Open Sound
Control OSC protocols. The interactive system was used by children (6-15 years old) to explore sound
worlds during a series of electroacoustic music courses and workshops.
Latin America is a continent full of contrasts, and in various places throughout the countries, space reflects the history of each nation through its architecture. We find pre-Hispanic pyra- mids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifesta- tions have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space.
This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts.