Biography[ edit ] 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. In he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder.
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By Edson Scheid. By Nicolo Paganini Listening CD. Published by Naxos NX. Hine Arranged by Edson Dickinson. Allegis Published by Allegis LO. Centaur CRC Published by Centaur NX. Music: The key word in the music of Zampronha is re-interpretation, understood as the act of understanding in a different way what had been previously listened to.
This re-interpretation will be exemplified in three different aspects of his work. This re-interpretation appears clearly in his extensive use of musical rhetoric resources. Then, during the development of the work this understanding surprisingly changes to another one. There is a change of meaning in what we listen to.
However, the first meaning never completely disappears. Thus, the old and the new understandings overlap, creating a highly dramatic effect that becomes the axis of the composition, grasping the listener attention from the very beginning of the work Another aspect of this re-interpretation can be found in the special use of sound materials and their references.
A sound material can make references to a specific musical context or a specific historical period even a very recent period without being a quotation.
When inserted in a different context the musical work is this new context , a polyphony between references appears: something new dialogues with something known; the displacement of a reference from its original context create musical conflicts, and the meaning and values these references carry out give a historical and contextual perspective to the sound materials. In this way, new sound materials are more than isolated sound objects. The original use of their references can produce new musical expressivities and gestures that cannot be achieved by traditional means.
Known sounds can be listened as never listened to, and new sounds can be listened as familiar ones. Concerning his harmonic language, Zampronha uses non-traditional, perfectly intelligible chords comprising many notes from 6 to 18, or even more.
Instead of being aggressive, these chords are expressive and appealing, each chord concentrating a specific sensation or emotion in itself. These chords are unities that are fragmented by the use of specific extra-notes. In this sense, the concept of dissonance is re-interpreted. Another very interesting re-interpretation is that a specific sequence of these chords can generate a harmonic new-functionality, as if we were listening to purely harmonies and, at the same time, a kind of harmonic tension and resolution that produce some unique directionalities inside the work.
Biography: Edson Zampronha was born in a family of musicians. He started out his musical training since his first years, at home. His first lessons included musical composition, history of music, theory, harmony, counterpoint and musical analysis, besides piano playing.
In he was introduced into electroacoustic music composition, and his first experiments were done in a four-channel Revox tape recorder. As of he starts an intense international agenda. He has developed two pos-doctorate researches to improve his theories on music and meaning, one at the University of Helsinki Finland , in , and another one at the University of Valladolid Spain , in During this period the re-interpretation term was coined.
Since the s his compositions have gone beyond the specialized circuits. He transfer his residency to Spain and he starts a new period of musical composition and researches.
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