Alejandro Montes de Oca
Tuntiopettaja, Y/Avoimen kampuksen yhteinen opetus
Prof. Bill Brunson Stockholm, Sweden Sep 2007 to Jun 2009 B.A. in
Classical Guitar Superior School of Music, CENART (National Center for
the Arts) Profs. Mario Beltrán del Río, Josefina Robles, Pablo Gómez
Mexico City, Mexico Sep 1998 to Jun 2006
Montes de Oca, Alejandro: Live Electronic Music Composition for Case-Specific Electroacoustic Instruments
Abstract of my concert series plan
The purpose of this project is to create and present an artistic portfolio of five new sound compositions. Each work will include the design and creation of a Case-Specific Electroacoustic Instrument, a term which I introduce in order to describe an instrument particularly modified or created to embody a specific compositional work, through the combination of electric, digital and acoustic devices. The outcomes of this project are presented to the public either in a concert, exhibition, or something in between, depending on the nature of each of the works. This artistic project seeks to enrich our world with new and original artworks and art practices. It should be understood as basic aesthetic research, involving knowledge acquisition and method development through artistic and aesthetic processes.
Abstract of my written thesis
This composition-based project of artistic research introduces the term Case-Specific Electroacoustic Instrument to describe an instrument that is particularly modified or created to embody a specific compositional work, through the combination of electric, digital and acoustic devices. It states that when the music composition process occurs in tandem with the instrument design process, a particular creative universe is engendered. The idea of case-specificity is central to this project. It refers to the variability of an instrument’s performance across compositional works, expanding the creative process with the instrument design and creation as another compositional parameter. The fundamental questions are: how do case-specific electroacoustic instruments acquire musical meaning both theoretically and practically; how do case-specific electroacoustic instruments shape the creative process compositionally, and with respect to performance?