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Edson Zampronha : ウィキペディア英語版
Edson Zampronha

Edson Zampronha (born June 2, 1963) is a Brazilian composer from an Italian family. His contemporary classical music has attracted the attention of a wide ranging audience as a result of its highly expressive musical discourse; he has achieved this through the invention of a sophisticated musical rhetoric that operates on the notion of musical meanings, and a harmonic construction that introduces a new functionality in music. ''Re-interpretation'' is the key word in his music. By means of this key word all these musical features are achieved.
== Biography ==
Edson Zampronha was born in Rio de Janeiro into a family of musicians. He started out his musical training at a young age at home. His first lessons included musical composition, history of music, theory, harmony, counterpoint and musical analysis, besides piano playing. His family moved from Rio de Janeiro to São Paulo in 1969. In 1978 he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder.〔MOORE, Tom (2010). “An Interview with Edson Zampronha”. In: (Online publication on January 25, 2010). )〕〔ZAMPRONHA, Edson (2008). “Edson Zampronha - Uma Conversa com o Compositor”. In: Vera Lúcia Donadio (Org.) ''Música Contemporânea Brasileira: Flo Menezes e Edson Zampronha''. São Paulo: Centro Cultural São Paulo, 2008, p.58-88 (Coleção Cadernos de Pesquisa).〕
In 1983 he starts the course on ''Music Composition and Conducting'' at the São Paulo State University. Two years before its conclusion he was invited to be a professor at the ''São Paulo Municipal School of Music''. In 1991 he concludes a ''Master Degree'' in Musical Composition at the Federal University of Rio de Janeiro, and in 1992 he starts a large and fruitful period as a professor of musical composition at the São Paulo State University. In 1998 he concludes the ''Doctorate on Communication and Semiotics – Arts'', at the Pontifical Catholic University of São Paulo, where he first applied semiotic tools for music composition.〔〔〔SCHULZ, Sabrina L.(2010). “Acústico e eletroacústico: a sincronia entre o piano e os sons pré-gravados em obras eletroacústicas mistas”. Curitiba: Pós-graduação em Música, Departamento de Artes, Universidade Federal do Paraná (Master Dissertation).〕
As of 1999 he starts an intense international agenda. In many opportunities he has been invited composer at outstanding studios as the ''Laboratory for Musical Informatics and Electronics at the Center for Diffusion of Contemporary Music'' (LIEM-CDMC, Madrid); the ''Phonos Foundation'' at the Pompeu Fabra University (Barcelona), and the ''Electroacoustic Music Studios'' of the University of Birmingham (England). He has developed two pos-doctorate researches to improve his theories on music and meaning, one at the University of Helsinki (Finland), in 2000, and another one at the University of Valladolid (Spain), in 2005. During this period the ''re-interpretation'' term was coined.〔ZAMPRONHA, Edson (2006). “A Rebirth of Rhetoric in Recent Contemporary Music”. In: ''KunstMusik'' (Köln:Maria de Alvear World Edition), v. 7, p.49-57.〕
Since the 1990s his compositions have gone beyond the specialized circuits. He has received commissions from different groups and institutions, as from the Museum for Applied Arts, Cologne (Germany), in 2006; from the fashion designer María Lafuente for her catwalk show at the Pasarela Cibeles also in 2006 (Madrid, Spain), and from the São Paulo State Symphonic Band for the 100th Anniversary of Sao Paulo State Art Gallery, in 2005 (São Paulo, Brazil).〔
In 2006 one of the leading classic music labels in Brazil, ''Clássicos'', releases a CD fully dedicated to his compositions for piano, for the first time including a CD dedicated to contemporary music in their collection.
In 2008 he interrupts a sequence of 16 years as a professor of musical composition at the São Paulo State University. He transferred his residency to Spain and started a new period of musical composition and research.

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