tag:blogger.com,1999:blog-22062994356408243062024-03-05T17:44:39.423-08:00David Aladro-VicoUnknownnoreply@blogger.comBlogger9125tag:blogger.com,1999:blog-2206299435640824306.post-784841976428223592016-12-31T23:21:00.000-08:002016-12-31T06:29:06.831-08:00<div style="text-align: right;">
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<span class="Apple-style-span" style="font-family: "arial"; font-weight: bold;"><span class="Apple-style-span" style="font-size: small;">DAVID ALADRO-VICO<span class="Apple-style-span" style="color: black; font-family: "georgia"; font-weight: normal;"></span></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">Composer, Performer, Interdisciplinary Artist</span></span></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">Co-founder of </span></span><a href="http://lrm-info.com/"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;">LRM Performance</span></span></a></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: small;"><a href="http://davidaladro-cv.blogspot.com.es/2009/05/i-studied-in-madrid-and-amsterdam-phd.html">Background</a></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><a href="http://davidaladro-cv.blogspot.com/search?updated-max=2000-05-17T03%3A23%3A00-07%3A00&max-results=1"><span class="Apple-style-span" style="font-size: small;">Compositions</span></a></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-64743853295152764762016-12-31T12:24:00.000-08:002016-12-31T05:52:40.047-08:00<div style="text-align: justify;">
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: x-small;">About me </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: x-small;">I graduated (B.A.) in musical composition in Madrid having studied in Madrid and Amsterdam, carried out a DEA (M.A.) on Creativity and Psychology of Rhythm at the Universidad Autónoma university (Madrid);</span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial" , serif;"><a href="http://davidaladro-cv.blogspot.com/search?updated-max=2000-05-17T03%3A23%3A00-07%3A00&max-results=1"><b><span class="Apple-style-span" style="font-size: x-small;">premiered compositions</span></b></a><span class="Apple-style-span" style="font-size: x-small;"> at national and international auditoriums and venues such as Auditorio Nacional, Círculo de Bellas Artes, Fundación Juan March, Fundación Canal (Madrid, Spain) Palacio de Festivales de Santander, and auditoriums in Germany, Mexico and Argentina among others. </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: x-small;">In 2003 founded alongside plastic Artist Berta Delgado the Interdisciplinary collective </span><b><a href="http://lrm-info.com/"><span class="Apple-style-span" style="font-size: x-small;">LRM Performance</span></a></b><span class="Apple-style-span" style="font-size: x-small;">, a platform within which we work since then.</span></span></span></div>
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<b>Rhythmic Sensibilities: A Dichotomy</b></span></div>
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</b>David Aladro-Vico</span></div>
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Composer, Teacher, </div>
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Madrid, Spain</div>
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<i>David.aladro@gmail.com</i></div>
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</i><b><i>This paper was presented with an explicative poster at the 9th international conference on Music Perception and Cognition of the ESCOM Alma Mater Studiorum University of Bologna, </i></b><span style="font: 18.0px Helvetica;"><b><i>August 22-26 2006 </i></b></span></div>
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ABSTRACT</b> </div>
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My work deals with an observed phenomenon of preferences in listening and production of music: two different rhythmic sensibilities; one oriented and needed of regularity— in the sense of equal disposition of events in time— id, est, equal durations, a pulse, tactus or beat and another avoiding isochrony and more oriented to irregular events. In my observation, these two types of rhythmic sensibility may exclude one another, may also be used as a condition for choosing or rejecting, evaluation or appreciation of music or musical features and, in the case of musical creation, they become a compositional tool. </div>
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I exemplify this dichotomy with examples of aesthetical changes and differences between styles from Western and non-western musical cultures; then I examine with a critical view the way the issue is adressed in music psychology for then presenting an experiment proposal.</div>
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<b>Keywords </b></div>
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Rhythm Perception and Cognition, Musical Time, Sensibility / Aesthetic Judgment. </div>
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<b>REGULAR VS. IRREGULAR:</b> <b>AN OBSERVATION </b></div>
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My work deals with two different rhythmic sensibilities I observe between subjects, showed in preferences for appreciation listening and production of music:</div>
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1. Preference for evident pulse, rejection of music with no regularity. </div>
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2. Rejection of evident pulse, preference for irregularity. </div>
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These two sensibilities might be: </div>
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• Excluding one another </div>
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• With variable tolerance, depending on context (internal or external to the subject)</div>
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Each of these rhythmic preferences may condition the appreciation of other musical features such as pitch relations or timbre, even becoming a <i> </i>sine qua non.</div>
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<b>Supporting the idea of two rhythmic sensibilities</b><i> </i></div>
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My observation was reinforced in the first place by points and concepts I found in several fields such as: </div>
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1. Psychology, in the work of Paul Fraisse, when he mentions a sensibility towards isochronous rhythms, of little discrimination and great affective repercussions, termed as<i> protopathic</i>; it yields satisfaction, reinforced by movement and synchronisation and its socialising effects; it withdraws before its opposite, the <i>epicritic</i>, of more affective discrimination.</div>
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Fraisse also points out how spontaneous synchronisations are inhibited in western adults because of cultural criteria Fraisse (1978). </div>
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Thus my observation fits with this idea from Fraisse of <i>protopathic </i>and<i> epicritic</i> rhythmic sensibilities, the former representing spontaneous, kinesthetic and basic and the later intellectual, discriminatory or cultural. </div>
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2. Aesthetics and Western classical music History; where I found, in the origins of periodical strong- weak, upbeat/downbeat measure-motif rhythm (the inception of meter) and its derivation from dance music, ca. from 1550 to 1650, (Lasso, Des Prez, Palestrina) a difference between liturgical and pagan music based on the use of counterpoint versus dance derived repetition;<i> </i>mediaeval religious art viewed as<i> complex, intellectual and artistic</i> versus the music of minstrels and troubadours, as <i>popular, amusing and forceful</i>. See for instance De La Motte (1991). </div>
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In Twentieth century classical music a similar dichotomy regular–irregular (protopathic–epicritic, using Fraisse’s terms) can be easily perceived when confronting Serial and Minimal music. The modern “emancipation of dissonance” had a rhythmic parallel in Messiaen’s <i>frozen time</i>, Stockhausen and Boulez <i>suspension of history</i> or Cage’s need to <i>empty time structures</i> which generated a treatment of temporality free from regular referents (often termed as <i>micro rhythmic</i>) </div>
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The post-modern consequences of minimal music represented the “emancipation of consonance” and also an “emancipation of pulse”, which somehow “sanctioned” the reappearance of isochrony. I presumed a similar situation when reading about the change of aesthetic paradigm in the return to narrative, figurative or even decorative painting in the work of German painters such as Baselitz, Richter et Al; who claimed for a similar emancipation of figurative art from the 50’s avant-garde tenets (abstraction, performance, etcetera) as Krens, Govan and Thompson (1989) point out; they quote how Joseph Beuys used to stand by his students’ oil and canvas and say: “still painting, aren’t we?”. </div>
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I associate this to a situation alluded by Griffiths (1995) when Stockhausen was “anxious to avoid an unexpected steady pulse which came out of the use of serial techniques” when writing <i> Kreutzspiel </i> in 1951.</div>
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3. The same protopathic / epicritic idea can be applied to nowadays’ accustomed judgment of classical and popular music, where the presence/absence of kinesthetic rhythm is associated with concepts of complexity and simplicity, in the same <i>complex, intellectual and artistic</i> versus <i>popular, amusing and forceful</i> guise. See for instance Longhurst (1995) for a review of some such issues in music sociology. </div>
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4. From studies on non western music<i> </i>such as Arom (1985) I draw the thought of the researcher fighting against a common prejudice in westerners towards African (and other non western) music because of its cyclical nature, as if researchers had to “find proof” of its complexity. </div>
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A reason for this prejudice was later proposed in Snyder (2002), as I will show below. Apart from these points I present a list at the end of this paper of paired protopathic / epicritic music examples.</div>
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<b>How do I study rhythmic sensibilities </b></div>
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I take from Fraisse (1978) the idea of a basic, spontaneous sensibility, related to kinesthesis and which forms the basis for the preference for isochronous music (protopathic sensibility) or, as he also suggests, some basic trait which may be culturally inhibited and withdraws before the epicritic sensibility. This is a crude, simple and risky explanation, because it derives conclusions or direct relations between basic cognitive attributes and cultural or aesthetical issues. I found those dangerous leaps top-down / bottom-up quite often in the field of music psychology. </div>
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The problem of distinguishing those elements conforming aesthetic sensibility is a hard one. Still, I will dare to take a plunge and try to find support for my observation. <i>Protopathic / Epicritic as movement / shape .</i></div>
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The difference between aesthetical trends such as the more contemplative music of Debussy or Messiaen’s frozen time and the more kinesthetic dance music, for instance, suggests a different cognitive approach for each one. </div>
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Human audition has been studied as a system of spatial localization, spatial-temporal measurement or auditory scene analysis, as explained in McAdams and Brigand (1993) or Reisberg (1992). In the case of music, audition may render a soundscape similar to a trampe l’oeil, if we use auditory analysis processes (on inter-aural timber, pressure and frequency) and specially its mismanagements (as with optical illusions) as emotion provoking. This might explain how those superior processes of analysis have a different emotional effect – an epicritic one– than the spontaneous kinesthetic based musical emotion, for they result from cognitive activity rather than kinesthesia.</div>
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<b>Protopathic / Epicritic as qualitative / quantitative</b></div>
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Please note that I say<i> emotion provoking</i> instead of <i> expressive; </i>the words <i>expression, expressive </i>have a dualist form / content flavour, and also<i> </i>imply the questionable idea of art as communication. I will use them only referring to appreciation of difference from a model for<i> judgment </i>(another word to be aesthetically careful with). As I mentioned earlier, assessing model / deviation –structural and expressive functions to discrete musical elements is complicated and elusive. Addressing this problem reflects a need to formalize such elements, understanding this as the scientific approach.The need for a temporal referent through which <i>expression</i> is obtained, by friction, or deviation, or as variants against invariants may serve to understand protopathic / epicritic sensibilities. Tempo and expressive deviations (rubato, etcetera) were then a qualitative element because of its expressive effects, while meter is a quantitative element. Hence meter becomes a category, and so does pulse, as Clarke (1984) or Large and Palmer (2002) state. </div>
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<i>Categories</i></div>
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Then, how do we define categories and rhythmic context for music which has no meter, no previous structural referent, or <span style="text-decoration: underline;">no</span> <i>tempo</i>, as is the case with epicritic sensibility? The idea of tempo is a protopathic one because it implies kinesthesia; co-variation of two temporal referents (like bpm) is used to coordinate movement, as Meyer and Palmer (2002) suggest. Obviously, absence of (at least clear) temporal referents provides a sense of no movement, a static, more contemplative music (avant-garde, for instance), and appreciation of form rather than movement, which is exactly what is sought for in epicritic music. Further studies on performance nuances or <i>microtiming</i> (or <i>microrhythmic;</i> not to be confused with XXth Century avant-garde rhythmic I mentioned above) (see for example Clarke, in Deustch 1999) were to find quantitative aspects in it. </div>
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Iyer (2002) for instance, proposes a margin for the detection of microtiming in a 500ms range between grouping and subdivision, a “precognitive, sensitive, immediate” temporal level for rhythmic activity perceived as <i>feeling</i> or recognition rather than analysis or calculation and which depends directly on primary perception and echoic memory. Iyer and Clarke maintain a division of micro and macrorhythmic structures, the latter being a memory based context. I question why shouldn't we view macro structures as <i>expressive</i>, even simply by<i> augmentation </i> of the processes applied to microtiming: a change of meter is a deviation, also a change of sectional proportions, global timing, and so on, expanding category size. Otherwise, non-metrical rhythm (called <i>articulated</i> or <i>melodic</i> by those with Tonal ethnocentric tendencies) thwarts the sense of context, becoming self-referential, creating its own context.</div>
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<b>Rhythmic sensibilities as memory and attentional strategies</b></div>
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If the use of memory for categorisation and context creation yields expression, then thwarting the sense of context and categories produces unexpressive music, which is clearly false (at least for me and the composers I mentioned before) although some investigators (Hasty, 1997, for instance) so declare. On the other hand, paraphrasing Snyder (2002): a lack of categorisation overcharges memory, as in Free Jazz; the difference between structure and expression falls down. This music stresses on nuances, producing uncategorisable events. This music requires a totally different attitude than those establishing clear memory structures.Beat size might be a contextually and culturally learned conceptual category [...] In western Africa, beat size is small, so westerners perceive rhythmic nuances as “mistakes”, reducing a complex experience to something simple [...]</div>
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Snyder also argues howIrregular rhythms may be completely processed as microrhithmic nuances, identified straightaway but not easy to be memorised. Without the help of meter -rhythm contrast it is rhythmic contour what creates tension, by comparison between adjacent time intervals, yielding a lack of large scale stability. </div>
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This argued lack of long term stability of unmetrical music is contradicted by a research by Clarke and Krumhansl (1998) (see Krumhansl, 2000 for a brief description) on the perception of form, general scheme and section boundaries finding no difference between varied styles of music (Mozart and Stockhausen). So in this manner epicritic music employs memory sabotage strategies; the “totally different attitude” alluded by Snyder might represent different memory / attention strategies, in the vein suggested by Iyer. </div>
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It has also been argued by Large and Jones (1999) that hierarchical rhythmic organisation (meter) serves to an attentional mechanism of adjustment of expectancies which guides perception, a mechanism which is based on hierarchically arranged oscillations conceding a perceptual advantage. Epicritic music might then be based on more complex non hierarchical oscillations, I argue. </div>
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In my view, this only transfers the aesthetical judgment question from why some subjects –epicritic music listeners– decide to sabotage memory categories to why do they ignore such <i> perceptual advantage</i>.</div>
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<b>HYPOTHESIS</b></div>
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Two rthythmic sensibilities exist so that they are reflected by two premises: </div>
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1. Rejection of isochrony. </div>
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2. Rejection of lack of isochrony.</div>
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<b>Experiments </b></div>
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<b> </b>If support is obtained, a first set of two simple experiments will be considered.A first experiment will be conducted with non musicians, exposed to two sets of stimuli; the first set without equal durations and the second with equal durations, both having the same timbral, harmonic and dynamic elements. A list of antithetical kinesthetical versus intellectual terms such as complex / simple, active / passive, flowing / static, straightforward / intricate is used to define their sensibility towards rhythm. This expressed sensibility will be correlated to an analysis of the history of their musical preferences according to the rhythmic quality of their musical holdings and the frequency of listening of music with evident or absent equal duration events.</div>
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A second experiment will be held with eight conservatory students from the last grade, all of them familiar with the use of computer music notation software; they are given two types of material; type 1 is pieces of music with all equal durations, and type 2 is other musical pieces without any equal duration in it. Materials presented to subjects are gradually more complex and go from single layer to four voice polyphony. Participants are then asked to modify only durations of the presented pieces; in a first set of pieces, they are asked to use only eraser, in a second one, they can only add values to the durations presented. </div>
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The modified pieces, along with the whole protocol recorded in another computer via screen capture are analysed using these criteria: </div>
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1. Percentage of equal and unequal durations left in the material. </div>
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2. Percentage of vertical (polyphonic, simultaneous) equalisation / unequalisation of the presented pieces in relation to number of strata. </div>
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3. Absence or presence of hierarchy between equal / unequal strata; amount of complexity related to absence and presence of equal durations. </div>
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4. Decisions, actions, hesitation or refraining in writing / erasing.</div>
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<b>REFERENCES </b></div>
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<b> </b>Arom, S. (1986). <i>African polyphony and polyrhythm. Musical structure and methodology. </i>New York : Cambridge University Press. </div>
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De la Motte, D. (1991). <i>Contrapunto</i>. Madrid: Labor.</div>
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Deutsch, D. (ed.). (1999). <i>The Psychology of Music (2nd Edition). </i>London: Academic Press </div>
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Fraisse, P. (1978)<i>. Psicología del ritmo</i>. Madrid: Morata.</div>
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Griffiths, P. (1995). <i>Modern Music and after. </i>London: Oxford University Press. </div>
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Hasty, C. F. (1997). <i>Meter as Rhythm</i>. London: Oxford University Press.</div>
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Iyer, V. (2002). Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music.<i> Music Perception 3</i>, 387-414.</div>
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Krens, Th. Govan, M. and Thompson, J, (1989). <i>Refigured Painting: The German Image 1960-88</i>. New York : Prestel.</div>
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Krumhansl, C. L. (2000). Rhythm and Pitch in Music Cognition. <i>Psychological Bulletin</i> <i>1</i>, 159-179 (2000). </div>
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Large, E. W. and Jones, M. R. (1999). The Dynamics of Attending: How we track time-varying events, <i>Psychological Review 106</i>, 119-159.</div>
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Large E. W., Palmer, C. (2002). Perceiving Temporal Regularity in Music.<i> Cognitive Science 26</i>, 1-37.</div>
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Longhurst, B. (1995). <i>Popular Music and Society. </i>Cambridge, UK: Polity Press.</div>
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Meyer, R. K. and Palmer, C. (2002). Rate and Tactus effects in Music Performance. </div>
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Melissa Jungers: <span style="text-decoration: underline;"><a href="http://dactyl.som.ohio-state.edu/Resources/people.html#F">http://faculty.psy.ohio-state.edu/2/jungers/</a></span></div>
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McAdams, S. Bigand, E. (eds.) (1993). <i>Thinking in Sound. The cognitive Psychology of Human Audition. </i> London: Oxford University Press.</div>
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Reisberg, D. (ed.) (1992). <i>Auditory Imagery.</i> London: Lawrence Erlbaum Assc. Publishers. </div>
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Snyder, B. (2000). <i>Music and Memory. An introduction. </i>Cambridge, Massachusetts: MIT Press. </div>
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<b>PAIRED MUSIC EXAMPLES</b></div>
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Here you have some paired examples of rhythmic sensibilities from mixed extraction: </div>
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1. Olivier Messiaen <i> Mode de Valeurs et d’Intensités </i> (1950) Versus Steve Reich <i> Piano Phase</i> (1967)</div>
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2. Luciano Berio <i>O King</i> (1967) Versus Luciano Berio <i> Folk Songs #7-Ballo </i> (1964)</div>
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3. Pierre Boulez <i> 2eme Sonate (</i>1948) versus Reich <i> Music for pieces of wood</i> (1972)</div>
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4. Arnold Scoenberg <i> Suite op. 25</i> (1925) versus Terry Riley <i>In C </i> (1964)</div>
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5. Anton Webern <i>Funf Orkesterstucke</i> (1913) versus Busta Rhymes <i> Gimme some more </i> (1999)</div>
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6. J. Cage <i> She is Asleep </i> (1948) versus J.S. Bach <i> 3rd Brandemburg Concert </i> (1721)</div>
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7. Alto Volta <i> Bounkam</i> Solo (traditional) vs. Medeski, Martin and Wood <i>Combustication</i> (1998)</div>
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8. Claude Debussy <i>Prelude a l’apress-midi d’un faune</i> (1893) vs. Frederic Rzewski <i>Coming Together </i> (1972)</div>
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9. F.J. Haydn <i>Sonata 32 in B min. Hob. XVI (</i>1772)<i> vs. </i>Erik Satie <i> Danses Gothiques</i> (1887)</div>
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10. John Abercrombie <i> Timeless </i> (1975) vrs. Screamin’ Headless Torsos <i> </i> <i>Cult of the Internal Sun </i> (1995)</div>
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11. Guillaume Dufay <i>Ave maris Stella </i>(ca.1450) vrs. Gbaya Sanza Music fron Central African Republic (traditional)</div>
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12. King Crimson <i>No warning</i> (1984) vrs. Kraftwerk <i> It’s more fun to compute</i> (1980)</div>
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13. P’Ansori <i>traditional epic, </i> Korea, (ca.600-) vrs. Bach, <i> Partita III BWM 1006 </i> (1720)</div>
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14. Josquin des Prez <i> In principio erat verbum</i> (ca. 1450) vrs. Michael Torke <i> Four proverbs</i> (1994) ca. 1050-)</div>
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15. Michael Nyman. <i>In Re don Giovani, (</i>1991) vrs. Paul Lansky's<i> Interesting Numbers</i> (2002)</div>
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16. J. Cage <i> A Room</i> (1948) vrs. Nung-an, traditional chant, Viet.nam, (ca. 900-)</div>
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<b>CONTACT </b></div>
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Suggestions, criticism, or any kind of comments on this paper theoretical and especially experimental proposal will be gladly welcome. </div>
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Please write to:</div>
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David Aladro-Vico</div>
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<i>David.aladro@gmail.com</i></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-3857037724415898582005-05-11T13:45:00.000-07:002013-11-30T03:20:40.595-08:00<br />
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">PIECES AND EXCERPTS </span></span></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">David Aladro-Vico </span></span><span class="Apple-style-span" style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"></span></span></span></span></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></div>
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<span style="font-size: small;"><span style="font-family: 'Lucida Grande',Arial,Helvetica,Verdana,sans-serif;"></span></span><span style="font-size: xx-small;"><br /><iframe frameborder="no" height="800" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F413331&auto_play=false&show_artwork=false&color=ffffff" width="85%"></iframe></span>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: smallest;"><b>Pieces 1 through 6</b>:</span></span></span></span></span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span></span></span><br />
<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia; font-weight: normal;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">From </span></span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Storyboard</span></span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> - a set of 20 pieces for solo Piano </span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">written in August 2002 </span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"></span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Premiered by Duncan Gifford at Tres Cantos Auditorium, Madrid, Spain - April 2003</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">and Karina Azizova at Fundación Juan March, Madrid, Spain, - Dec. 2006</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><b>Pieces 7 & 8</b>:</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">( Fl., Vl., Vc, Gtr., Bnd.) premiered by Eco Quintet, Teatro Colón, Buenos Aires, Argentina- Oct. 2004. </span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><b>Pieces 9 & 10</b>:</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">From </span></span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Monotipos</span></span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">1 </span></span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> - 9 pieces for solo accordion</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"># 7 - Laripsuyak </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></div>
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<span class="Apple-style-span" style="line-height: 25px;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">Premiered by Gorca Hermoso at Palacio de Festivales, Santander, Spain Oct. 16 2002</span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial, serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><b>Pieces 11 & 12</b>: </span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">From </span></span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">El hombre de Java no está en casa en este momento</span></span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> - 14 pieces for guitar solo, Premiered by René Mora at Fundación Juan March, May 7 2005 </span></span></span></div>
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<script charset="utf-8" src="http://virb.com/external/embed/audio/track/432220" type="text/javascript"></script></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"># 13 Elena no le ha dicho que no</span></span></span><br />
<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span>
<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; font-family: 'Lucida Grande'; font-size: 16px;"><a href="http://soundcloud.com/lrm-performance"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">More music here</span></span></a></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCmRhyDXatliMnkh7u6KOql3tCzcsIhUou0fJYDZj-Lq9qgvPBtxPD-LuSGgpU11ze8VMh01fNoLt3dWjy-4hU_cpascf0ZZ_G_oyW6AIC9RwkPsc-q2EgSTgaeH0H0hcE0luDJmzryzpM/s400/P%C3%A1g+9+Dav+Curri%28300%29.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCmRhyDXatliMnkh7u6KOql3tCzcsIhUou0fJYDZj-Lq9qgvPBtxPD-LuSGgpU11ze8VMh01fNoLt3dWjy-4hU_cpascf0ZZ_G_oyW6AIC9RwkPsc-q2EgSTgaeH0H0hcE0luDJmzryzpM/s400/P%C3%A1g+9+Dav+Curri%28300%29.jpg" height="" id="BLOGGER_PHOTO_ID_5117441424611782514" width="420px;" /></a></div>
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Written in August 2002 :<br /><br /><div><div> <br /></div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='574' height='478' src='https://www.blogger.com/video.g?token=AD6v5dyz49yuySLwdRmSHlTp_PVSkjsAnHy49s9SnaxTYxzCbQVhaRSG9HlL127NbI12gFYZh4hBRvKVTjQN5R9ZxA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br style="text-align: start;" /><br style="text-align: start;" /><br style="text-align: start;" /><br style="text-align: start;" /><br style="text-align: start;" /><br style="text-align: start;" /><div style="text-align: start;"><br /></div><div style="text-align: start;"># 14- <i>Restos de Comida</i>, from <i><b>Storyboard</b></i> (2002)</div><div style="text-align: start;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='599' height='498' src='https://www.blogger.com/video.g?token=AD6v5dzm9LZalmxjMUe7IArogNpAKyl-F6RlQv3mzPFHbQn--EL3iXpfVw9l-QWFBu09ycmRzRPTzCOfXSaEmXtaOA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><div style="text-align: start;"><br /></div><div style="text-align: start;"><br /></div><div style="text-align: start;"># 4- <i>Rave More</i>, from <i><b>Storyboard</b></i> (2002)<div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR313SIHQ-j781iQqJsyZGLuo188xU1QM4BlOMLNuaVPGDhHDVOGdPkbxL3tcFiv-dvwIXH6ZownAlTWQbQONaxHafo-s5GrKih2MK8CG-N_lXjz8rkNs_40xEbucEbCdm193PLvwUpRYi/s1600-h/Stbd-4-RaveMore.jpg"><img border="0" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR313SIHQ-j781iQqJsyZGLuo188xU1QM4BlOMLNuaVPGDhHDVOGdPkbxL3tcFiv-dvwIXH6ZownAlTWQbQONaxHafo-s5GrKih2MK8CG-N_lXjz8rkNs_40xEbucEbCdm193PLvwUpRYi/w640-h459/Stbd-4-RaveMore.jpg" width="640" /></a><br /><br /><br /># 1 - <i>Inteligencia Artificial</i> <br />From <i><b>Monotipos</b></i> 1 - 9 pieces for solo accordion :<br />Gorka "<i>el mozo"</i>, Accordion. Written in 2002 </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='512' height='425' src='https://www.blogger.com/video.g?token=AD6v5dxkZXr2v5YR1qtSWXr461mxZDmYfVDb9drTkYIuIGsRRLLXQfjykm2yLmubNnP55iJPSbLadFhZTks63Xzm7Q' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><div><br /></div><div><br /></div><div><br /></div><div># 7 - <i>Laripsuyak</i> <br />From <i><b>Monotipos</b></i> 1 - 9 pieces for solo accordion :<br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='561' height='467' src='https://www.blogger.com/video.g?token=AD6v5dwxjcRDfIYvqUlybX8ML0s4s-duipuOHBF3V5994OY7HwWu65Q3d6mX_-XQ3hsZgdX3DVxcie8Xzw40BiibpQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><br /></div><div><br /></div><div># 13 <i>Elena no le ha dicho</i><br />from <i><b>El hombre de Java no está en casa en este momento</b></i> - 14 pieces for solo Guitar<br />written in 2003 :<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq8ch7yyS4_PM8s-rAR3cvfs54zZ3Y3yn9svrwecFypzLFQBmbKUKPD1eh6HX4p1swuy6QylW9VV_isgSjeRdyynT9qwSsUYdEG7jMawjZIObh34IITU7rK75BYcbuFoJh3aPXQl_gDeR/s1600-h/Java+Man13-Elena.jpg"><img border="0" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq8ch7yyS4_PM8s-rAR3cvfs54zZ3Y3yn9svrwecFypzLFQBmbKUKPD1eh6HX4p1swuy6QylW9VV_isgSjeRdyynT9qwSsUYdEG7jMawjZIObh34IITU7rK75BYcbuFoJh3aPXQl_gDeR/w640-h459/Java+Man13-Elena.jpg" width="640" /></a> <br /><br /><br /><br /><br />For inquiries about music and scores, <a href="http://davidaladro-cv.blogspot.com/search?updated-max=2001-05-19T03%3A02%3A00-07%3A00&max-results=1">contact here</a> <br /><br /><br /><br />More music <a href="http://soundcloud.com/lrm-performance/sets/acoustic">Here</a> <br /></div></div></div><br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-3525463845701364952003-10-03T03:36:00.001-07:002022-12-25T06:06:22.964-08:00Trayectoria profesional<br />
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<span class="Apple-style-span" style="color: #0000ee;"><u><br /></u></span></div>
<span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><b>David Aladro-Vico</b></span></span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Estudios Realizados:</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />Grado elemental como alumno libre del Real Conservatorio Superior de Música de Madrid: – Solfeo, Ritmo, Armonía y Composición con Pedro J. Zazpe. y Pilar Couceiro y Piano con Agustina Palaviccini.</span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />Grado medio en el Conservatorio Profesional de Música-Amaniel de Madrid: –Clarinete y Piano con Julia Díaz Yanes y Luis Cuevas.; Armonía y Formas musicales con Enrique Blanco y Armando Zanón; Contrapunto y Fuga con Jesús Sevillano y Jose Mª Sanchez-Verdú y Composición con Enrique Blanco.</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />Grado Superior en el Real Conservatorio Superior de Música de Madrid (R.C.S.M.M.) y en el Conservatorium Van Amsterdam, Holanda; —Composición con A. G. Abril;</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />—Estudiante ERASMUS curso 1999- 2000 en el Conservatorium Van Amsterdam, Amsterdam (Paises Bajos) donde estudia Análisis y Estética del Siglo XX con Willem Wander Van Nieuwkeerk, Andre Douw y Theo Verbey, y Música y Danza de Ghana (Africa) y Música Carnática (India) con R. Rëina y Jos Zwanenburg y Jahnavi Jayaprakash.<br /><br />Licenciado como Profesor Superior de Armonía, Contrapunto, Composición e Instrumentación en el R.C.S.M.M. con Matriculas de Honor en Composición 4 º, Composición 3 º, Composición 1 º y Mencion de Honor Fin de Carrera</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Estudios de Tercer Ciclo (Doctorado):</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— Certificado de Docencia y suficiencia investigadora en el programa de Doctorado interuniversitario Creatividad Aplicada de las Facultades de Psicología de la Universidad Autónoma de Madrid y de Ciencias de la Educación, Bellas Artes y Ciencias de la Información de la Universidad Complutense de Madrid.<br />— Diploma de Estudios Avanzados en el programa Creatividad Aplicada, por su trabajo de Investigación sobre Psicología del Ritmo, Facultad de Psicología, Universidad Autónoma de Madrid.</span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Titulaciones :</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— Título de Profesor Superior de Armonia, Contrapunto, Composición e Instrumentación<br /><br />— Certificado de Docencia de la Universidad Autónoma de Madrid<br /><br />— Diploma de Estudios Avanzados (DEA) de la Universidad Autónoma de Madrid.<br /><br />— Certificado de Aptitud Pedagógica (CAP) de la Universidad Complutense de Madrid<span class="Apple-style-span" style="color: black; font-family: Georgia, serif;"><span class="Apple-style-span" style="font-family: arial, serif;"><br /></span></span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Cursos de Especialización Realizados (1992-2005):</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />—Curso de Composición con Franco Donatoni en el R.C.S.M.M. . (1992)<br />—Curso sobre Músicas no Occidentales con Luis de Pablo, Conservatorio C/Ceuta.—Madrid. (1993)<br />—Curso sobre Heterofonía y Música del sureste de Asia con José Evangelista en el R.C.S.M.M. (1994)<br />—Curso sobre Africa y Occidente con Polo Vallejo en el R.C.S.M.M. (1998)<br />—Curso sobre técnicas y estrategias de Composición Contemporánea con E. Blanco y A. Huidobro, R.C.S.M.M.<br />— Seminario con Hans Werner Henze en el R.C.S.M.M. (1998)<br />— Campo de Composición 1999 del Instituto de la Juventud (INJUVE): Clases con Cristobal Halfter, Javier Darias, Mautricio Sotelo , Tomás Marco, Thierry Pecou, Victor Rebullida, Joseba Torre et al.<br />— "Técnicas de la Composición contemporánea II ". E. Blanco, J. Mª Sanchez-Verdú y R. Eguilaz, R.C.S.M.M. (1999)<br />—Curso de Composición de Helmut Lachenmann en la Universidad de Alcalá de Henares (UAH) (1999)<br />—Curso sobre polifonías y polirrítmias instrumentales de Africa Central con Simha Arom y P. Vallejo, UAH. (1999)<br />—Curso sobre Psicologia de la Creatividad con M. Romo en el R.C.S.M.M. (2000)<br />—Curso sobre "Perspectiva extrema y límites de la percepción" con Salvatore Sciarrino en la UAH (2000)<br />—Curso sobre "Arquitectura formal en la música avanzada" con Brian Ferneyhough, UAH. (2000)<br />—Seminario sobre Tendencias actuales en investigación Etnomusicológica, Museo Nacional de Antropología. (2001)<br />— Seminario Música y Palabra en la Facultad de Filología de la Universidad Complutense de Madrid (2001)<br />— Taller de Coreografía y Composición con G. Clarke, C. Best y K. Duck de la Fundación Autor (2001)<br />— Nuevas Tecnologías Aplicadas a la Documentación Musical, de la Fundación Albéniz (2004-05) :<br />- Módulos 1 y 2 : Universalización y preservación de la Enseñanza Musical en documentos audiovisuales<br />- Módulo 3: Creación Musical y Nuevas Tecnologías.<br />- Módulo 4: Técnicas y Procesos en las Nuevas Tecnologías. Internet.<br />Dentro del programa de Doctorado Creatividad Aplicada (2001-2003):<br />— Poetica audiovisual: Creatividad y Retórica, con Francisco García García, Ciencias de La información, Universidad Complutense de Madrid (UCM)<br />—Creatividad en la Música Cinematográfica, con Manuel Gertrudix, Ciencias de la información, UCM<br />— Cognición Creativa: Fundamentos teóricos y metodológicos, con F. Blanco, M. Romo, D. Travieso y J. M. Igoa, facultad de Psicología, Universidad Autónoma de Madrid (UAM)<br />— Creatividad y Creación Artística, con Javier Díez, facultad de Ciencias de la Educación, UCM<br />— Métodos de Investigación en Creatividad Artística, con M. Hernández Bellver, Bellas Artes, UCM<br />— Motivación y Personalidad en el Comportamiento Creativo, con J. Alonso Tapia, B. Moreno y J. Sebastián, facultad de Psicología, UAM<br />— Psicología Musical: Una cartografía de urgencia, con Florentino Blanco, facultad de Psicología, UAM<br />— Creatividad y Educación Artística para el Desarrollo Humano, con M. López-Cao, Ciencias de la Educación, UCM<br />— Trabajo de Investigación en Creatividad Aplicada: Estudio sobre sensibilidades Rítmicas. Tutor: F. Blanco, UAM.</span></span><img alt="" border="0" id="BLOGGER_PHOTO_ID_5117417033492508338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis1hDObUCkF4yG6xTj5-PzIwh4Kv1SoKrCsJfsoub-4_gmYYq-X102TvYP2ZM8paLRh8Icw5Rt43fNAyf2pjUpCVCkWG1AKYvVNJtovuLXQO5wmtF29Xj4dz5douwxdRqxY6WynBauC7Rn/s400/PICT0110.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Experiencia Docente</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span><br />
<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Profesor de Armonía, Análisis, Composición, Lectura e interpretación de Música Contemporánea, Fundamentos de Composición,</span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"> Psicología de la Percepción musical y otras materias en conservatorios de grado medio y superior de Madrid, Salamanca y Las Palmas. </span></span><br />
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<b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Conferencias y Publicaciones</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br />— Presentación del trabajo Sensibilidades Rítimicas en el II Seminario de Psicología y Estética La Cristalera, Universidad Autónoma de Madrid , Noviembre 2003.<br />— Presentación del póster sobre Psicología de la música con el Grupo DIMP (Desarrollo + Investigación en Música y Psicología) en la XXVI Conferencia Mundial del ISME (International Society for Music Education), Santa Cruz de Tenerife Julio 2004<br />— Psicología del ritmo : Una Aproximación. Conferencia, Real Conservatorio Superior de Madrid, 31 de Marzo 2005.<br />— Sensibilidades Rítmicas, ponencia y publicación en la IX bienal del CIMA (Center for Intercultural Music and Arts),Granada, Abril de 2006<br />— </span></span><a href="http://www.marcocosta.it/icmpc2006/pdfs/386.pdf"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Rhythmic sensibilities: a Dichotomy</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">: poster y proceeding publicados en la 9ª Conferencia Mundial de la European Society for the Cognitive Sciences of Music, (ICMPC9- 6thTriennial ESCOM conference) Bolonia, Agosto 2006.</span></span></div>
<img alt="" border="0" id="BLOGGER_PHOTO_ID_5117429020746231522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TCGzMtuiZTZTwrqMc_4qLTvD4puWGvGLi-xt0dcp0SHZDEN6cMTCtLA8hkZXb6gLQPL2MZUFrKicYMvv2RgPznvSPpzu_gcTmeGxy0nsFRu-3U11Mghg8V-0ASvu87Gda5ua9U-J4vPx/s400/P1000912.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /> <br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Premios, Méritos y Actividades Realizadas:</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br />— Seleccionado para las Ayudas a Jóvenes Compositores de la Comunidad de Madrid por sus Ensayos sobre Técnicas Rítmicas, estrenados por la Orquesta de la Comunidad de Madrid en el Auditorio Nacional, 1997.<br />— Participa como fundador del grupo de Compositores Talea . Conciertos y actividades anuales desde 1995<br />— Finalista del Concurso de Jóvenes Compositores de Alcobendas 1999<br />— Premio de la Fundacion Francisco e Inocencio Guerrero 2001 por "Conversaciones" para Orquesta Sinfónica.<br />— Carta de recomendación de Hans Werner Henze Para Irvine Arditi .<br />— Participación en el proyecto interdisciplinar "Arquitexturas" junto a Jesús Salceda (literatura) Berta Delgado (artes plásticas) Novel Sámano (compositor) y Carlos Quintana (Fotografía), Madrid, Noviembre 2004<br />— Elaboración y exposición del proyecto "La Espera" con </span></span><a href="http://bertadelgado-cv.blogspot.com/"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Berta Delgado</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"> (artes plásticas) Madrid, Febrero-Noviembre de 2005.<br />— Elaboración de la performance "</span></span><a href="http://lrm-info.blogspot.com/"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Lugar Roce Momento</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">" con </span></span><a href="http://bertadelgado-cv.blogspot.com/"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Berta Delgado</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"> (artes plásticas) Madrid, Diciembre-Julio de 2007.</span></span></div>
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5117439345847611234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioxME-jEEWdtHj-PIo3fvKS2YW4ZpqCr9SJ8j1Dd-k0qOOMwfrKXOIZOIZbikt2RdmNnYg-5S_AlyJPk8i9oAmbPxQsf2g4lG2Mdc6aNGYp1olJruDnS9XfQfVNYYjjchwCFJtCgFW-MSk/s400/b&d_18200+PEQUE%C3%91A.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Composiciones Estrenadas 1993-2008:</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br />— "Hawaiian lunch" violín y clarinete. Estrenada por Enrique García y </span></span><a href="http://www.n-collective.com/index.cgi?article=11&dept=people"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Carlos Gálvez</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">, Conservatorio Amaniel, Madrid, 10 Mayo de 1993.<br />— "Cinco miniaturas para flauta y cello". Estrenadas por J. M. Colina y J. Pérez de Albéniz, Conservatorio Amaniel, Madrid,16 de Abril de 1996.<br />— "Ensayos rítmicos" (8 piezas) (Picc. ob. cte. tpta. tbn. perc. p. vla. cb. bajo eléc. y batería). Orquesta de la Comunidad de Madrid, en el Auditorio Nacional de Música de Madrid, 7 de Febrero de 1997.<br />— "Big night down the drain" (15 piezas) Cuarteto Abner Gross (David Aladro, piano, F. Lafourcade, percusión, H. Oliveira, bajo, E. Cuevas, violín). Círculo de Bellas Artes, Madrid, 2 de Diciembre de 1997.<br />— "Ocho piezas para quinteto de Viento" . Estrenadas por el Quinteto Pandora en el Ateneo de Madrid, 6 de junio de 1999.<br />— " Seis piezas" (V, Fl, Guit y Vc) Cuarteto Eco en el Auditorio de Tres Cantos , Madrid 22 de Abril del 2001.<br />— " A medida que nos acercamos" (Piano y Voz) por C. Yepes y M. Acebedo, Tres Cantos, Madrid 7 de Abril de 2002.<br />— "Monotipos 1" (números 1, 3 y 4) (Acordeón), estrenados por Gorka Hermosa en el Palacio de Festivales de Santander, 16 de Octubre de 2002.<br />— "Monotipos 1" (núm. 5 y 9) (Acordeón), estrenados por G. Hermosa en El Auditorio de Cornellá de LLobregat, Barcelona 2 de Diciembre de 2002.<br />— "Storyboard" (Piano solo) Piezas 1, 6, 8, 10, 11, 12, y 18 Estrenadas por Duncan Gifford, Auditorio de Tres Cantos, Madrid 13 de Abril del 2003.<br />— "Las líneas de Corriente" (Piano y Viola) Estrenada por K. Azizova e I. Martín, Auditorio de la Fundación Canal, Madrid 29 de Junio de 2003.<br />— "Monotipos 1" (núm. 6 y 7)(Acordeón) estrenados por Gorka Hermosa, La Casa Encendida, Madrid 15 de Diciembre de 2004.<br />— "Minkiatturas" (Núm. 4 y 12) para piano, Estrenadas por Karina Azizova, Teatro Albeniz, Madrid 9 de Febrero del 2004<br />— " Tigre Viejo sobre la nieve" (Quinteto viento) Estrenada por el quinteto Ibert, Tres Cantos, Madrid 25 de Abril del 2004.<br />— "Pathemia" (Oboe, Tpa y Piano) Estrenada por el Trio Factum, Zittadel Spandau Gotischer Saal, Berlín 29 de Abril de 2004.<br />— "18+19 Cuerdas" ( Fl., Vl., Vc, Gtr., Bnd.) Estrenada por el Quinteto Eco, Teatro Colón, Buenos Aires 26 de Octubre 2004.<br />— " La Espera" ( Electrónica y piano) Estrenada por el autor en el Espacio de Arte Tesauro, Madrid, 26 de Febrero de 2005.<br />— " El hombre de Java no está en casa…" (gtr. solo) estrenada por René Mora en la fundación Juan March, Madrid 7 Mayo 2005<br />— " En los dientes" (Quinteto Viento) Quinteto Ibert. Auditorio de Tres Cantos, 9 de Octubre de 2005<br />— " Vida a la Intemperie" (Sexteto Cuerda y Guitarras) Ensemble Banksia. Auditorio de Tres Cantos, Octubre de 2006<br />— "Storyboard" (Piano solo) Piezas 2, 4, 7, 16, y 19 Estrenadas por K. Azizova, Fundación Juan March, Madrid 12 de Diciembre de 2006</span></span></div><div><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— "Lugar Roce Momento" (Electrónica, performance y piano ) Estrenada por Berta Delgado y David Aladro en Matadero Madrid, Madrid, 20 de Julio de 2007.</span></span></div><div><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">— " Cyclic V.08" ,(Electrónica, piano, performance) Estrenada por Berta Delgado y David Aladro en el Auditorio del OCCC, Valencia, 8 de Febrero de 2008.</span></span></div><div><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><div style="margin: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: Arial; margin: 0px; padding: 0px;"><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;">— "Cyclic V.08" (Electrónica, piano, performance) Estrenada por Berta Delgado y David Aladro en el Auditorio del <i style="margin: 0px; padding: 0px;">Octubre Centro de Cultura Contemporánea</i>, Valencia, 8 de Febrero de 2008.</span></span></span></span></div></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">— "Cogwheel" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a>Teatro Pradillo, Madrid 24 de Octubre de 2008</span></span><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></span></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></span></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">— "Cogwheel 2n Turn" Electrónica, piano preparado, performance y audiovisuales, Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a></span></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">, Auditorio San Juan Bautista, 20 de Febrero de 2009</span><br style="margin: 0px; padding: 0px;" /><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></span></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">— "Cogwheel 2n Turn" Electrónica, piano preparado, performance y audiovisuales, Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">, Auditorio San Juan Bautista, 20 de Febrero de 2009</span></span><br style="margin: 0px; padding: 0px;" /><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></span></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"></div><div style="background-color: white; border: 0px; font-family: Georgia, serif; font-size: 16px; font-stretch: normal; line-height: normal; margin: 0px; padding: 3px; width: auto;"><div style="margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;">— "Cogwheel 3" Electrónica, performance y audiovisuales, </span></span></div><div style="margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;">Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a>en el Teatro del CC La Elipa, 25 de Abril de 2009</span></span></div><div style="margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /></span></span></div></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"> <span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">— "Cog 20_10" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a>en La Noche en Blanco, Madrid, - Talleres Abam, Madrid, Sept. 2010</span></span></span></div><div style="background-color: white; font-family: arial, verdana, helvetica, tahoma, sans-serif; font-size: 16px; margin: 0px; padding: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small; margin: 0px; padding: 0px;"><br style="margin: 0px; padding: 0px;" /><span class="Apple-style-span" style="margin: 0px; padding: 0px;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="margin: 0px; padding: 0px;">— "Cog 20_11" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/" style="color: #32527a; margin: 0px; padding: 0px; text-decoration: none;">LRM Performance </a>en el Antic Teatre, Barcelona, 4 de Mayo de 2011</span></span></span></div><div><br /></div><div>— "Memory Root Light" (2012) (Electrónica, performance y audiovisuales) Estrenada por LRM Performance en el Teatro Garau, Oristano, Cerdeña, Italia, 22 Diciembre de 2012.</div><div><br /></div><div>— "Kowloon" (2016) (Electrónica, percusión, performance y audiovisuales) Estrenada por LRM Performance en Casa de Vacas, Madrid 28 de Julio de 2018. </div><div><br /></div></span></span></div>
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5117431030790926098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-2AnBhRlB3N5uVTrVHxllnyFnrOtOO6BneK4fg2cnFmAFwhUNYeae8nEY38avsyEFmthwsPoNmJjy_Xik6q_jQLboWG2ft6lpNANK-AXr5PIRCn4CgWeAvs0dtS3lEIQE0V2afvPhSefm/s400/PICT0007.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Programas de Conciertos y de Actividades realizadas:</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— "Hawaiian lunch", (Vl y Ct.) Conservatorio profesional Amaniel de Madrid , 10 de Mayo de 1993.<br />— "Miniaturas para Flauta y 'Cello", Conservatorio profesional Amaniel de Madrid , 16 de Abril de 1996.<br />— "Ensayos rítmicos" , (Orq. cámara) Auditorio Nacional de música , Madrid , 7 de Febrero de 1997.<br />— Cuarteto "Abner Gross", Círculo de Bellas Artes, Madrid, 2 de Diciembre de 1997.<br />— "Ocho piezas para quinteto de Viento" , Ateneo de Madrid, 6 de Junio de 1999.<br />— "Ocho piezas para quinteto de Viento" , Círculo de Bellas Artes, Madrid, 13 de Enero del 2001.<br />— "Seis piezas para el cuarteto Eco" , (Quinteto) Auditorio de Tres Cantos, 22 de Abril del 2001.<br />— "Seis piezas para el cuarteto Eco" , Auditorio de Aranjuez, 7 de Noviembre del del 2001<br />— "Seis piezas para el cuarteto Eco" , Ateneo de Madrid, 16 de Diciembre 2001</span></span><img alt="" border="0" id="BLOGGER_PHOTO_ID_5117437000795467602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdgIZoWAtzvmtWAxf46glkCw-8YKX5fzhqdVxebqhKo1K5aP1ZBK0LM0ebMNyjE1xQcRuKNeaT9eo8N6xmpfPsKLzrkU03JxuC92FdPTbDcx6Nk6BK4WjgxMRXOkXEQmdSO6XBahNA6EZ/s400/PICT0048.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br />— " A medida que nos acercamos" , (Piano y voz) Auditorio de Tres Cantos, 7de Abril del 2002.<br />— "Monotipos 1" (acordeón) Monasterio de Santa María de Valbuena, Valladolid, 10 de Agosto 2002<br />— "Monotipos 1" Palacio de Festivales de Santander, 16 de octubre del 2002.<br />— "Monotipos 1" Cornellá, Centre Social Titan 10 de Diciembre del 2002.<br />— " Storyboard" (Piano) Auditorio de Tres Cantos, 13de Abril del 2003.<br />— "Las líneas de corriente" (vla y p.) Auditorio de la Fundación Canal, Madrid 29 de Junio del 2003<br />— Concierto de Improvisación al piano, Universidad Autónoma de Madrid 30 de Junio del 2003<br />— "Monotipos 1" (acordeón) La Casa Encendida, Madrid 15 de Diciembre del 2003.</span></span><br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5117436987910565698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHhq1gRUqWfYRIsM1uJH9wSwJQtKxVV5eRVc9rkfpALLfJa5N4Jichs_4IUoUE_nQmfwncNeBhdNzd64L54zNrXZ9HtfWT2BzGzn5C5A_IVksu_LT9dvzjHVOxxdwzsKWFerK0QP7O8lS/s400/PICT0027+proteg.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br /><br /><br /><br />— Homenaje a Teresa Vico , obras para piano, Teatro Albeniz, 9 de Febrero de 2004<br />— " Tigre Viejo sobre la nieve" (Quinteto viento) Auditorio de Tres Cantos, Madrid, 25 de Abril del 2004.<br />— "Pathemia" (Oboe, Tpa y Piano) Auditorio del Conservatorio de Getafe, 30 de Marzo del 2004.<br />— "Pathemia" (Oboe, Tpa y Piano) Zittadel Spandau Gotischer Saal, Berlín 29 de Abril del 2004.<br />— "Pathemia" (Oboe, Tpa y Piano) Festival Cervantino, Guanajuato, Mexico, 8 de Octubre del 2004.<br />— "18+19 Cuerdas" (Fl, Vl, Vc, Gtr y Bnd.) Teatro Colón, Buenos Aires, 26 de Octubre del 2004.<br />— "Arquitexturas" — (Improvisación, piano solo) Espacio Nautilus, 13 de Noviembre 2004<br />— " La Espera" ( Electrónica y Piano) Espacio de Arte Tesauro, Madrid, 26 de Febrero de 2005.<br />— " El Hombre de java no está en casa en este momento" (Gtr solo) Fundación Juan March, 7 de Mayo de 2005<br />— " En los dientes" (Tpa, Ob y Pn) Auditorio de Tres Cantos, 9 de Octubre de 2005<br />— "Storyboard" (Piano) Piezas 2, 4, 7, 16, y 19, Fundación Juan March, Madrid 12 de Diciembre de 2006<br />— " Vida a la Intemperie" (sexteto gtrs) Auditorio de Tres Cantos, Octubre de 2006<br />— " </span></span><a href="http://lrm-info.blogspot.com/"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Lugar Roce Momento</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">" (electrónica, piano, performance) Matadero Madrid - , Madrid, 20 de Julio de 2007.<br />— " Cyclic V.08" ,(electrónica, piano, performance)Auditorio del OCCC, Valencia, 8 de Febrero de 2008</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">— "Cogwheel" - Electronica, performance & audiovisuales, </span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Oct. 2008, Teatro Pradillo, Madrid</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">— "Cogwheel 2n Turn" - Electronica, piano preparado, performance & audiovisuales, Auditorio S. Juan Bautista, Feb. 2009 </span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">— "Cogwheel 3 " - Electronica, performance & audiovisuales CC. La Elipa, Mayo 2009</span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><img alt="" border="0" height="118" id="BLOGGER_PHOTO_ID_5117432980706078514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1aYleo14cFrky83eVWB36xDv08akIfdoz_9ciohG6b88sIfJP4-G1sGZjCZo-8cXkoVOCNREGNWa4FBco75tRjl_psXnnzXLg3bEwUrFyH9tEmBTs419YLavMZ_9HEy6nIzkF3qCg1cR/s400/prensa+2.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" width="170" /><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Prensa y críticas :</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /><br />— Columna sobre el grupo Talea, Doce Notas. Revista de información musical. Junio-Septiembre de 2002.<br />— Reseña de Monotipos 1 , Alerta, el periódico de Cantabria, 16 de diciembre 2002.<br />— Crítica de Monotipos 1 , Alerta, el periódico de Cantabria, 18 de diciembre 2002.<br />— Reseña de Monotipos 1 , en El Diario Montañés, 16 de diciembre 2002.<br />— Crítica de Storyboard, en Scherzo, revista de música , Junio 2003.<br />— Crítica de Las líneas de Corriente en El punto de las Artes, 11 al 31 Julio 2003.<br />— Reseña del estreno de Tigre Viejo Sobre la Nieve, en Scherzo, revista de música , Junio 2004.<br />— Crítica de Storyboard, en ABC , Diciembre 2006.<br />— Reseña de Matadero Madrid, Julio de 2007.</span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Obras Editadas</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— Nueve Monotipos para acordeón, editorial Hauspoz, Guipuzcoa 2003</span></span><br />
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<span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5117441424611782514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCmRhyDXatliMnkh7u6KOql3tCzcsIhUou0fJYDZj-Lq9qgvPBtxPD-LuSGgpU11ze8VMh01fNoLt3dWjy-4hU_cpascf0ZZ_G_oyW6AIC9RwkPsc-q2EgSTgaeH0H0hcE0luDJmzryzpM/s400/P%C3%A1g+9+Dav+Curri%28300%29.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Catálogo de Composiciones:</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />— "Hawaiian lunch" para violín y clarinete, Abril 1993<br />—"Siete piezas para violín , clarinete y piano" Enero de 1995<br />—"Zootropo" para cuarteto de flautas, Septiembre de 1995<br />— "Cinco miniaturas para flauta y cello" Abril 1996<br />— "I saw you on the telly you're a crap" Para saxos alto y tenor, Julio 1996<br />— "Minkiatturas" (12 piezas) para piano, Marzo - Diciembre de 1996<br />— "4 piezas" para picc., ob., cte., tpta., tbn., piano, perc., vla y Cb, Septiembre de 1996<br />— "2 piezas" para ob., cte., tpta., tbn, piano, perc., vl. y vc., Octubre de 1996<br />—"Cinco piezas" para maderas, metales, percusión y piano, Junio- Septiembre de 1997<br />— "Big night down the drain" 15 piezas para Violín, piano, Bajo eléctrico y batería, 1994-diciembre1997<br />—"Catorce piezas para cuarteto de cuerda" Noviembre-Diciembre de 1998<br />—"Siete piezas para piano y dos clarinetes" Enero de 1999<br />—"Ocho piezas para quinteto de viento" Marzo de 1999<br />—"Deadlocked (seis imágenes)" para Orquesta de cámara. Septiembre de 1999<br />— "Little Things" mini-ópera de cámara sobre un relato de Raymond Carver, Diciembre de 1999.<br />—"Vijf stuken voor Fiorenza" para violín solo, Enero del 2000.<br />—"Swammerdam xtc" para Clarinete, Cello y Batería, Marzo del 2000.<br />— " Mary Celeste" 3 piezas para Orquesta, Septiembre 2000.<br />— " Seis piezas" para violín, flauta, guitarra y 'cello, Octubre del 2000.<br />— "Conversaciones " 7 piezas para Orquesta, Enero 2001<br />— "Voor Adriaan Lubbers" 2 piezas para piano a 4 manos y percusión, Febrero 2001<br />— "El final de la cuarentena" - 12 piezas para Orquesta, Julio 2001<br />— "Cementerio de metáforas" - 9 piezas para Ob. Cte. Tpta. Tbn. Tecl. Vla y Cb. , Sept. 2001<br />— "A medida que nos acercamos" Seis piezas para Voz y Piano, Enero 2002<br />— "Monotipos 1" Nueve piezas para Acordeón, Mayo 2002<br />— "Storyboard" Veinte piezas para Piano, Agosto 2002<br />— "Las líneas de corriente" para Viola y Piano, Noviembre 2002<br />— " Pathemia." 11 piezas para Oboe, Trompa y Piano, Junio 2003<br />— " El hombre de Java no está en casa en este momento" 14 piezas para Guitarra, Septiembre 2003<br />— " Tigre Viejo sobre la nieve" para Quinteto de Viento, diciembre 2003<br />— " ¡Llame ahora! " cinco piezas para Voz y Piano, Mayo 2004<br />— " 18+19 Cuerdas" para Fl., Vl., Vc, Gtr. y Bandurria, Septiembre 2004<br />— "Tesauro" Electrónica + improvisación al piano, Febrero 2005<br />— " Story 5" Electrónica, Mayo 2005<br />— " Story 6" Electrónica, Junio 2005<br />— "...En Los Dientes" ocho piezas para Fagot, Trompa y Piano, Junio 2005<br />— " Uncomprehendrix" para Fl., Vl., Vc, Gtr. y Bandurria, Septiembre 2005<br />" Vida a la Intemperie", Para cuarteto Gtr, Cuart. cuerda y Bandurria, Junio 2006<br />—"Lugar Roce Momento” Electrónica en vivo, Julio 2007<br />— " Cyclic V.08" Electrónica y performance, Febrero de 2008</span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">— " Memory Root Light" </span></span><span class="Apple-style-span" style="font-family: arial; font-size: x-small;">Electrónica y performance, Diciembre de 2012</span><br />
<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="278" id="BLOGGER_PHOTO_ID_5117442949325172610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNtdUU4SicK_kECXhMDSo03iGi7xyg26D3iBmT4xNVQg2njrSsqN8Zog2FRCJXIkbM_afhqv2ib-djdXdk28aX67-7wS5tU0Br2mmY7murraYHKKrzEFtnON3-7Kl4a6b9q1lkt0eCDh8J/s400/cd+azul.jpg" style="cursor: hand; display: block; height: 148px; margin: 0px auto 10px; text-align: center; width: 150px;" width="286" /></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">Grabaciones :</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />" Ensayos rítmicos" Orquesta de la CAM (15') (Grabación de Radio Nacional de España).<br /><br />" Big Night Down The Drain" (56' ). Cuarteto Abner Gross<br /><br />" Seis piezas" (17' ). Cuarteto Eco<br /><br />" Storyboard" (10' ). D. Gifford, Piano<br /><br />" Monotipos 1" (selección) (10') G. Hermoso, Acordeón<br /><br />" El hombre de Java no está en casa en este momento" (selección) (8'') René Mora, guitarra</span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;"><br />" La Espera " (44') (electrónica e improvisación al piano: David Aladro-Vico)<br /><br />" Story 5" (electrónica) (10' ) "Story 6" (electrónica) (9 ')<br /><br />"Lugar Roce Momento" ( Electrónica e improvisación al piano: David Aladro-Vico (54')<br /><br />"Cyclic V08" ( Electrónica, Performance e improvisación al piano: David Aladro-Vico; Videoarte y performance: Berta Delgado) (30')</span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">"Cogwheel" (2008-2011) - electroacustica</span></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: x-small;">"Memory Root Light" (2012—) electroacustica</span></span></div>
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5117418090054463170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7DFiks6n01mCVMYx40e6CbxTjgUXNe_J6bMZA8-VwFdlTDcAalpo5nfHnaSpIMV2TiC7wDX4pOhM7yzeQheQ3hYNcqlKTREgsKlusxamtcPqm7SFna2Rg4lTaRF3nDbP3G_eMLdQEBez/s400/PICT0011-2.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-79236322843740347262000-05-19T02:56:00.001-07:002022-12-25T06:03:26.749-08:00<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"></span></span><span style="font-size: large;"><br />
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: large;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #666666;"><span class="Apple-style-span" style="font-size: large;">Contact</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><br /></span></span></div>
<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: small;">For contacting, music composing commissions and courses or any other question please write to</span></span></span><br />
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<span style="text-decoration: underline;">David (<i>at</i>) gmail. com</span></div>
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<span class="Apple-style-span" style="font-family: Arial; text-decoration: underline;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: arial; font-size: 18;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">About LRM Performance write to </span></span></div>
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<span class="Apple-style-span" style="font-family: arial;"></span><br />
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<span class="Apple-style-span" style="font-family: arial;"><span style="text-decoration: underline;">Contact (<i>at</i>) LRM-info. com</span></span></div>
<div style="font-family: Arial; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="text-decoration: underline;"><br /></span></span></div><div style="font-family: Arial; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="text-decoration: underline;"><br /></span></span></div><div style="font-family: Arial; font-size-adjust: none; font-stretch: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span">You may also reach me via instagram or twitter or ... </span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-80017324030495321092000-05-18T03:02:00.001-07:002022-12-25T03:40:56.108-08:00<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"></span><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 20px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"></span></span></span><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 20px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 24px;"><br /></span></span></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 20px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: large;">About LRM Performance</span></span></span></span></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 20px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><br /></span></span></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: 20px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><br /></span></span></span></span></div>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;"><b>LRM Performance </b> is an interdisciplinary Visual Art - Music - Stage Arts collective created by </span><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><a href="http://davidaladro-cv.blogspot.com/search?updated-max=2009-05-12T12%3A20%3A00-07%3A00"><span class="Apple-style-span" style="font-size: small;">David Aladro-Vico</span></a><a href="http://lrmperformance.blogspot.com/search?updated-max=2009-03-24T10%3A43%3A00-07%3A00&max-results=1" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-decoration: none;"><span class="Apple-style-span" style="font-size: small;"> </span></a><span class="Apple-style-span" style="font-size: small;">and </span><span class="Apple-style-span" style="font-size: small;"><a href="http://lrmperformance.blogspot.com/search?updated-max=2009-03-24T10%3A43%3A00-07%3A00&max-results=1" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-decoration: none;"></a></span><a href="http://bertadelgado-cv.blogspot.com/"><span class="Apple-style-span" style="font-size: small;">Berta Delgado</span></a></span><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;">and based in Madrid, Spain.</span></span></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-family: arial; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;">LRM </span></span></span></span><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span class="Apple-style-span" style="font-size: small;">came out of the need for breaking conceptual, physical and social borders between artistic disciplines – Contemporary music, Plastic and Scenic Arts– with the view of an interesting result from all them working conjointly.</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px; text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial; font-size: 18px; line-height: 28px;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-size: small;">Please visit <b> </b></span><a href="http://lrm-info.com/"><span class="Apple-style-span" style="font-size: small;"><b>LRM Performance</b>'s site</span></a><span class="Apple-style-span" style="font-size: small;"> for information and samples</span><span class="Apple-style-span" style="font-size: small;"> </span></span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-2206299435640824306.post-97503903661951292000-05-17T03:14:00.001-07:002022-12-25T03:37:21.924-08:00<div style="text-align: justify;">
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"></span></span><br />
<div style="font-family: Arial; font-size: 19px; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: normal normal normal 19px/normal Arial; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; min-height: 22px; text-align: right;">
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><b><span class="Apple-style-span" style="font-family: arial; font-size: xx-small;"><b>Catalogue of Compositions </b></span></b><b><span class="Apple-style-span" style="font-family: arial; font-size: xx-small;">(Catálogo de Composiciones)</span></b></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Luoghi" - Electroacoustics, percussion, monochords, light and movement, 2019~2023 (in progress)</span></div><div style="font-family: Arial; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: normal normal normal 12px/normal Arial; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"> </span></div><div style="font-family: Arial; font-size: 12px; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: normal normal normal 12px/normal Arial; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">—"Kowloon" - Electroacoustics, percussion, light and movement, 2015~2016 </span></div>
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— "Memory Root Light" - Electroacoustics, monochord, light, performance, 2012</div>
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— "Cog 20_10 " - Electronics, performance, audiovisuals dec 2010</div>
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— "Cogwheel 3 " - Electronics, performance, audiovisuals May 2009</div>
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— "Cogwheel 2n Turn" - Electronics, prepared piano, performance, audiovisuals, Feb. 2009</div>
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— " Cyclic V.08" - Electronics, performance, February 2008</div>
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— "Lugar Roce Momento” - Live Electronics, circuit-bent digital piano, July 2007</div>
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— " Vida a la Intemperie" - Guitar Quartet +String Quartet + Bandurria (Lute), June-July 2006</div>
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— " Uncomprehendrix" - Fl., Vl., Vc, Gtr. , Bandurria, September 2005</div>
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— "...En Los Dientes" 8 pieces - Fagot, F. Horn , Piano, June 2005</div>
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— " Story 6" - Electronics, June 2005</div>
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— " Story 5" - Electronics, May 2005</div>
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— "Tesauro" - Electronics + circuit-bent digital piano Improvisation, February 2005</div>
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— " 18+19 Cuerdas" - Fl., Vl., Vc, Gtr. , Bandurria (lute), September 2004</div>
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— " ¡Llame ahora! " 5 pieces - Soprano voice, piano, May 2004</div>
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— " Tigre Viejo sobre la nieve" - wind quintet, December 2003</div>
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— " El hombre de Java no está en casa en este momento"</div>
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14 pieces - <a href="http://www.sheerpluck.de/?http://www.sheerpluck.de/composer.php/8340/1/A/50/a+main"><span style="color: #0000e5;">guitar solo</span></a>, September 2003</div>
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— " Pathemia." 11 pieces - Oboe, F. Horn, Piano, June 2003</div>
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— "Las líneas de corriente" - Viola and Piano, November 2002</div>
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— "Storyboard" - 20 pieces - Piano solo, August 2002</div>
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— "Monotipos 1" - 9 pieces - Accordion, May 2002</div>
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— "A medida que nos acercamos" 6 pieces - Voice (soprano) , Piano, January 2002</div>
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— "Cementerio de metáforas" - 9 pieces - Ob. Ct. Tpt. Tbn. Kbds. Vla, Cb. , Sept. 2001</div>
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— "El final de la cuarentena" - 12 pieces - Orchestra, July 2001</div>
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— "Voor Adriaan Lubbers" 2 pieces - piano 4 hands , percussion, February 2001</div>
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— "Conversaciones " 7 pieces - Orchestra, January 2001</div>
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— " Seis piezas" violin, flute, guitar, 'cello, October 2000.</div>
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— " Mary Celeste" 3 pieces Orchestra, September 2000.</div>
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—"Swammerdam xtc" clarinet, cello, drum kit, March 2000.</div>
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—"Vijf stukken voor Fiorenza" violin solo, January 2000.</div>
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— "Little Things" chamber opera on Raymond Carver, December 1999.</div>
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—"Deadlocked (seis imágenes)" Chamber orchestra September 1999</div>
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—"Ocho piezas para quinteto de viento" wind quintet, March 1999</div>
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—"Siete piezas para piano y dos clarinetes" piano , clarinets, January 1999</div>
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—"Catorce piezas para cuarteto de cuerda" String quartet, November-December 1998</div>
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— "Big night down the drain" 15 pieces - violin, piano, electric bass & drum kit, 1994- December 1997</div>
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—"Cinco piezas" windwoods, brass, percussion, piano, June- September 1997</div>
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— "2 piezas" ob., cte., tpta., tbn, piano, perc., vl. vc., October 1996</div>
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— "4 piezas" picc., ob., cte., tpta., tbn., piano, perc., vla, Cb, September 1996</div>
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— "Minkiatturas" (12 pieces) piano, March - December 1996</div>
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— "I saw you on the telly you're a crap" alto, tenor saxes, July 1996</div>
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— "Cinco miniaturas para flauta y cello" flute, cello, April 1996</div>
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—"Zootropo" flute quartet, September 1995</div>
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—"Siete piezas para violín, clarinete y piano" - violin, clarinet, piano, January 1995</div>
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— "Hawaiian lunch" - violin, clarinet, April 1993</div>
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— "Muttered promises from and ageless pond" record with prog-rock band Galadriel, 1989</div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span"><br /></span></span></span></span></span></span>
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span">Composiciones Estrenadas (</span></span></span></span></span><span class="Apple-style-span" style="font-weight: bold;">Premiered Works)</span></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span">— "Hawaiian lunch" violín y clarinete. Estrenada por Enrique García y</span></span> Carlos Gálvez<span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span">, Conservatorio Amaniel, Madrid, 10 Mayo de 1993.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Cinco miniaturas para flauta y cello". Estrenadas por J. M. Colina y J. Pérez de Albéniz, Conservatorio Amaniel, Madrid,16 de Abril de 1996.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Ensayos rítmicos" (8 piezas) (Picc. ob. cte. tpta. tbn. perc. p. vla. cb. bajo eléc. y batería). Orquesta de la Comunidad de Madrid, en el Auditorio Nacional de Música de Madrid, 7 de Febrero de 1997.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Big night down the drain" (15 piezas) Cuarteto Abner Gross (David Aladro, piano, F. Lafourcade, percusión, H. Oliveira, bajo, E. Cuevas, violín). Círculo de Bellas Artes, Madrid, 2 de Diciembre de 1997.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Ocho piezas para quinteto de Viento" . Estrenadas por el Quinteto Pandora en el Ateneo de Madrid, 6 de junio de 1999.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " Seis piezas" (V, Fl, Guit y Vc) Cuarteto Eco en el Auditorio de Tres Cantos , Madrid 22 de Abril del 2001.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " A medida que nos acercamos" (Piano y Voz) por C. Yepes y M. Acebedo, Tres Cantos, Madrid 7 de Abril de 2002.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Monotipos 1" (números 1, 3 y 4) (Acordeón), estrenados por Gorka Hermosa en el Palacio de Festivales de Santander, 16 de Octubre de 2002.</span></span></span></span></div>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Monotipos 1" (núm. 5 y 9) (Acordeón), estrenados por G. Hermosa en El Auditorio de Cornellá de LLobregat, Barcelona 2 de Diciembre de 2002.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Storyboard" (Piano solo) Piezas 1, 6, 8, 10, 11, 12, y 18 Estrenadas por Duncan Gifford, Auditorio de Tres Cantos, Madrid 13 de Abril del 2003.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Las líneas de Corriente" (Piano y Viola) Estrenada por K. Azizova e I. Martín, Auditorio de la Fundación Canal, Madrid 29 de Junio de 2003.</span></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Monotipos 1" (núm. 6 y 7) (Acordeón) estrenados por Gorka Hermosa, La Casa Encendida, Madrid 15 de Diciembre de 2004.</span></span></span></span></div>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Minkiatturas" (Núm. 4 y 12) para piano, Estrenadas por Karina Azizova, Teatro Albeniz, Madrid 9 de Febrero del 2004</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " Tigre Viejo sobre la nieve" (Quinteto viento) Estrenada por el quinteto Ibert, Tres Cantos, Madrid 25 de Abril del 2004.</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Pathemia" (Oboe, Tpa y Piano) Estrenada por el Trio Factum, Zittadel Spandau Gotischer Saal, Berlín 29 de Abril de 2004.</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "18+19 Cuerdas" ( Fl., Vl., Vc, Gtr., Bnd.) Estrenada por el Quinteto Eco, Teatro Colón, Buenos Aires 26 de Octubre 2004.</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " La Espera" ( Electrónica y piano) Estrenada por el autor en el Espacio de Arte Tesauro, Madrid, 26 de Febrero de 2005.</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " El hombre de Java no está en casa…" (gtr. solo) estrenada por René Mora en la fundación Juan March, Madrid 7 Mayo 2005</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " En los dientes" (Quinteto Viento) Quinteto Ibert. Auditorio de Tres Cantos, 9 de Octubre de 2005</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— " Vida a la Intemperie" (Sexteto Cuerda y Guitarras) Ensemble Banksia. Auditorio de Tres Cantos, Octubre de 2006</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Storyboard" (Piano solo) Piezas 2, 4, 7, 16, y 19 Estrenadas por K. Azizova, Fundación Juan March, Madrid 12 de Diciembre de 2006</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Lugar Roce Momento" (Electrónica, performance y piano ) Estrenada por Berta Delgado y David Aladro-Vico en <i>Matadero Madrid</i>, Madrid, 20 de Julio de 2007</span></span></span></span></div>
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<div style="text-align: justify;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;">
<span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Cyclic V.08" (Electrónica, piano, performance) Estrenada por Berta Delgado y David Aladro en el Auditorio del <i>Octubre Centro de Cultura Contemporánea</i>, Valencia, 8 de Febrero de 2008.</span></span></span></span></div>
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<div style="text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">— "Cogwheel" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/">LRM Performance </a>Teatro Pradillo, Madrid 24 de Octubre de 2008</span></span><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><br /></span></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><br /></span></span></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">— "Cogwheel 2n Turn" Electrónica, piano preparado, performance y audiovisuales, Estrenada por <a href="http://lrm-info.com/">LRM Performance </a></span></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">, Auditorio San Juan Bautista, 20 de Febrero de 2009</span><br /><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><br /></span></span></span></div>
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<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">— "Cogwheel 2n Turn" Electrónica, piano preparado, performance y audiovisuales, Estrenada por <a href="http://lrm-info.com/">LRM Performance </a></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">, Auditorio San Juan Bautista, 20 de Febrero de 2009</span></span><br /><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><br /></span></span></span></div>
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<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; border: 0px; font-family: Georgia, serif; font-size: 100%; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: normal normal normal 100%/normal Georgia, serif; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 3px; padding-left: 3px; padding-right: 3px; padding-top: 3px; padding: 3px; width: auto;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Cogwheel 3" Electrónica, performance y audiovisuales, </span></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">Estrenada por <a href="http://lrm-info.com/">LRM Performance </a>en el Teatro del CC La Elipa, 25 de Abril de 2009</span></span></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></span></div>
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<div style="text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"> <span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">— "Cog 20_10" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/">LRM Performance </a>en La Noche en Blanco, Madrid, - Talleres Abam, Madrid, Sept. 2010</span></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif">— "Cog 20_11" (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/">LRM Performance </a>en el Antic Teatre, Barcelona, 4 de Mayo de 2011</span></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif"><br /></span></span></span></div>
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<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; border: 0px; font-stretch: normal; font: normal normal normal 100%/normal Georgia, serif; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 3px; padding-left: 3px; padding-right: 3px; padding-top: 3px; padding: 3px; width: auto;">
<div style="font-family: Georgia, serif; font-size: 100%; font-style: normal; font-variant-caps: normal; font-weight: normal; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;">— "Memory Root Light" (2012) (Electrónica, performance y audiovisuales) Estrenada por <a href="http://lrm-info.com/">LRM Performance </a> en el Teatro Garau, Oristano, Cerdeña, Italia, 22 Diciembre de 2012. </span></div>
<div style="font-family: Georgia, serif; font-size: 100%; font-style: normal; font-variant-caps: normal; font-weight: normal; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-family: Georgia, serif; font-size: xx-small;">— "Kowloon" (2016) </span><span style="font-family: Georgia, serif; font-size: x-small;"> (Electrónica, percusión, performance y audiovisuales) Estrenada por </span><a href="http://lrm-info.com/" style="font-family: Georgia, serif;">LRM Performance </a><span style="font-family: Georgia, serif; font-size: x-small;"> en Casa de Vacas, Madrid 28 de Julio de 2018. </span></div><div style="text-align: justify;"><span style="font-family: Georgia, serif; font-size: x-small;"><br /></span></div>
<div style="font-family: Georgia, serif; font-size: 100%; font-style: normal; font-variant-caps: normal; font-weight: normal; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"></span></div>
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; border: 0px; font-family: Georgia, serif; font-size: 100%; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: normal normal normal 100%/normal Georgia, serif; line-height: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 3px; padding-left: 3px; padding-right: 3px; padding-top: 3px; padding: 3px; width: auto;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; text-align: justify;">
<span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><a href="http://davidaladro-cv.blogspot.com/search?updated-max=2005-05-11T04%3A48%3A00-07%3A00&max-results=1">Score samples</a></span><span class="Apple-style-span" face="Arial, Helvetica, sans-serif" style="font-size: xx-small;"><br /></span></span></div>
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<span class="Apple-style-span" face=""arial" , "helvetica" , sans-serif" style="font-size: xx-small;"><span class="Apple-style-span" style="font-family: Arial; font-size: small;"><span class="Apple-style-span" style="font-size: xx-small;"><br /></span></span></span></div>
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