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Tiago Morais Morgado . free hyper-viola

free hyper-viola

Tiago Morais Morgado (1988) is a Portuguese is a viola player, composer, improviser, and sound artist based in the Braga – Portugal. He performs mainly in the context of improvised, and experimental electronic music. His work focuses on the development of Hyper-Instruments and interactive Instruments. As a composer he is focusing on sound art and free improvisation and music for for media. Between 2011 and 2013, Tiago studied sonology at the Royal Conservatory of Den Haag with Richard Barrett.

He performed in many prestigious venues including SXSW Austin Texas, Exit Festival at Serbia, Islington Metal Works in London, and opened for High Places, as part of the portuguese collective :papercutz. as a solo musician, he had his music featured in festivals and venues like Musica Viva, Ciclo Colaboracoes/Improvisacoes de Serralves, Studio Loos, Hyphae, Fiber Festival, BlikOpener, Martin Luther Kerke Amsterdam, among others. He has taken courses and masterclasses with many leading musicians including Peter Evans, Fred Frith, Mark Dresser, William Parker, Jason Khao Wang, Trevor Wishart, Anette Vande Gorne and Andre Bartetzki.

He currently performs solo with live electronics, and with his trio with the virtuoso barroque violin player james hewitt and renato ferreira.

Tiago Morais Morgado (1988) e um violetista, compositor, e improvisador Português, residente em Braga – Portugal. Atua maioritariamente no contexto de musica improvisada e musica eletrônica experimental. O seu trabalho incide maioritariamente no desenvolvimento de Hyper-Instruments e sistemas interativos. Como compositor foca-se em sound art, improvisação livre, e composição para media. Entre 2011 e 2013, Tiago estudou sonologia no Conservatório Real de Haia, na Holanda, onde estudou com o compositor escocês a residir em Berlim Richard Barrett.

Tocou em vários palcos prestigiados incluindo o SXSW em Austin no Texas, o Exit Festival na Servia, o Islington Metal Works em Londres, tendo igualmente aberto para os HIgh Places, como membro do coletivo português :papercutz. A solo, teve a sua musica apresentada em festivais e salas como o festival Musica Viva, organizado pela Miso Music, o Ciclo de Colaborações/Improvisações de Serralves, Studio Loos, Hyphae, Fiber Festival, BlikOpener, Martin Luther Kerke Amsterdam, 60*60, entre outros, Cafe de Vinger, entre outros. Frequentou cursos, aulas e masterclasses, com alguns dos melhores músicos da cena de improvisação livre e musica eletroacústica da atualidade, incluindo Peter Evans, Fred Frith, Mark Dresser, William Parker, Jason Khao Wang, Trevor Wishart, Anette Vande Gorne e Andre Bartetzki.

Actualmente actua a solo com live electronics, e com o seu trio com o virtuoso violinista barroco ingles James Hewitt, e com o saxofonista, contrabaixista e compositor brasileiro Renato Ferreira (ambos membros da Royal Improvisers Orchestra de Yedo Gibson).

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The focus of the project is the development of Hyper-improvisation (interactive/generative systems applied to improvisation), for archiving a mediation between compositional and improvisatory practices in human-machine interaction that involves issues related to programming, performance, and composition.

The reasons behind my need to approach hyper-improvisation are the solving of problems in the domain of physicality: using external controllers besides the sound producing devices usually takes a violin or viola player out of psycho-motor balance, forcing to adapt the way of playing. My goals are the following: having a compact and expressive yet intuitive set-up to play live, without spatial references and a strong physicality component, driven by the analysis of meaningful musical parameters thru sound and bow measurement without the need for any further physical input, capable to triggering sound processing, sampling and granular synthesis, visuals, and sound spatialization.

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Ben Carey is a Sydney-based saxophonist/composer/technologist with interests in contemporary classical, improvised, interactive and electro-acoustic music. After completing a Bachelor of Music at the Sydney Conservatorium of Music in 2005, Ben moved to France to study saxophone and contemporary music under Marie-Bernadette Charrier at the Conservatoire de Bordeaux. Back in Australia, Ben is currently undertaking a PhD at the University of Technology, Sydney focused upon the design and development of interactive musical systems for improvised performance with instrumental musicians. Ben has performed and exhibited work in Australia, New Zealand, France, Austria, the United States and Switzerland.

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_derivations is a system that is designed for use by a solo instrumentalist, and is designed to derive all of its sonic responses to improvisational input – both synthetic and via live sampling – from the instrumentalist’s live performance. A great catalyst that launched me into designing performative systems in the first place was the desire for a hands-free or unmediated mode of performance with electronics. I have been interested in creating performative environments for an instrumentalist that require no physical intervention on the part of the performer (or anyone else for that matter) with the system once a performance has begun. i.e. the performer’s interaction with the machine is entirely through sound. In order to achieve this, and to enable a mutually influential interactive relationship the machine then must be able to listen to and interact with the performer in some kind of autonomous manner. In _derivations, unlike in my previous system Multiple Players, the computer’s sonic vocabulary, as well as it’s generative and decision making capabilities, are directly related to the timbre of the instrument being analysed. In Multiple Players I was concerned with creating novel generative responses to instrumental input that were based upon notes, rhythms, dynamics and articulations – in short, all of the kinds of musical information that are available in a system based upon the representation of musical data via the MIDI standard. Although I am by no means the first to realise the limitations of this approach, I was very keen to develop a system that relied upon the analysis of timbre, not least in order to enable the blending of acoustic and computer generated sounds.

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