Papers by Cláudio de Pina
Xperimus - Experimentation and beyond in music, 2022
Michael Praetorius (1571-1621) in De Organographia, the second volume of his treatise Syntagma
Mu... more Michael Praetorius (1571-1621) in De Organographia, the second volume of his treatise Syntagma
Musicum (1614-1620) describes, among many other things, different styles of pipes within the
contemporary organ of his time. Of special note his the description of the organ functioning in
symmetry to the individual instruments that already existed, mimicking their sound (i.e.: flutes, reeds
and strings). One could assume, like Praetorius, that the organ builders would try to imitate the sound
of the other contemporary instruments. Unfortunately nowadays one can’t assume the same. Why there
aren’t organ sounds based on electronics, different kinds of synthesis or perhaps extended techniques of
instruments to better serve nowadays contemporary music? Why does this tendency to have different
sounds stopped? The evolution stopped when and why? Was it a technical difficulty? Don’t we have
enough technology in present day to reformulate the organ? Or is it that the desire of the builders,
composers, organists and the clergy dictated a dogmatic norm?
TENOR International Conference on Technologies for Music Notation & Representation Prooceedings, 2022
The notation of extended techniques on the organ do not have a clear standard. Composers use thei... more The notation of extended techniques on the organ do not have a clear standard. Composers use their own notation or guiding rules to express their sonic expansion on the instrument. Since 1960, the most prolific period on organ experimentation, Ligeti, Kagel and Cage were the first to become known for using non-standard notation on the organ. From this collection of works, the ones from Ligeti are paramount. From the graphical score of Volumina, the long clusters of Harmonies to the fast torrent of notes of Coulée. Kagel develops further with other notations for clusters and graphical gestures in Phantasie für Orgel. Finally, with Cage we find a simpler way of notating long notes and stop changes. Kurt Stone has a chapter on his book, Music Notation in the Twentieth Century, regarding notation on the organ, but it not describes half-drawn registers, half-depressed keys and does not present anything regarding motor or other air manipulations. A clearer notation and explanation is needed for these extended techniques. In an instrument so tied to a functionality, it is pertinent nowadays to re-incorporate these techniques in the contemporary organ repertoire. A new simple notation is presented, alternative to graphical notation or lengthy performance notes. This will create an easy understandable approach.
NOVA Contemporary Music Journal Vol.2, 2022
The extended techniques on the pipe organ are other means of producing sound in this instrument. ... more The extended techniques on the pipe organ are other means of producing sound in this instrument. Several composer used their notation or guiding rules to expand the sounds of the organ. Although Ligeti, since 1960, was the first to become known using these techniques, with his works for organ ("Volumina", "Harmonies" and "Coulée") one can assume that these sounds always existed, but they did not have a formalization.
III Encontro Internacional de Investigação de Estudantes em Música e Musicologia, 2021
The aim of this paper his to present an investigation regarding the organ works of John Cage has ... more The aim of this paper his to present an investigation regarding the organ works of John Cage has a whole. We will use the historical context, music analysis and composition methodology, interpretations and notes of the composer. A special attention will be dealt on the difficulties and problems regarding interpretation of these works.
O órgão da Ajuda, 2020
Na Igreja Paroquial da Nossa Senhora da Ajuda existe um órgão de tubos que é um marco histórico d... more Na Igreja Paroquial da Nossa Senhora da Ajuda existe um órgão de tubos que é um marco histórico da localidade. Situada na freguesia da Ajuda a igreja também é conhecida pelos locais como Igreja da Boa-Hora devido ao convento augustiniano adjacente. António Xavier Machado e Cerveira (1756-1828) foi o organeiro (a profissão dos construtores de órgãos) que o construiu. O restauro em 1988 foi concretizado pelo organeiro António Simões. A registação (os sons do órgão) e peculiaridades da sua operação são pertinentes e relevantes para a estética da época. Estes instrumentos são denominados de órgão histórico ou órgão ibérico.
The purpose of this article is to present an alternative way of thinking about the acoustic space... more The purpose of this article is to present an alternative way of thinking about the acoustic space. It can be applied to composition, sound design, musical production. It develops from the ideas of electroacoustic music and diffusion. The acoustic space is interconnected with several fields of study and can be developed has a tool in; acoustics, performance, disposition in space. The experimentation of contemporary music, specially acousmatic music with multi-channel diffusion, can be applied to other fields. The space can be a creative medium in a compositional or performative vein. Convolution is the linear operation that multiplies two functions resulting in a third one. This superimposition along time produces several effects that could be correlated to reverberation. It is a fundamental tool to work with acoustic spaces. Convoluted is the transformation of a judicial act, opinion or idea. This word is used, with the notion of impose and transform acoustic spaces in a way besides the usual reverberation. Space the final frontier Does space play a role in sound? In music or composition? The historical context is an important way of putting thoughts in perspective. Although the immediate response will relate to signal processing or other media like Dolby Surround, the music history is full of examples that space, indeed was a criteria for de composers and performers. In that manner, some repertoire will be presented. Since the times of Early and Baroque Music, musicians and composer felt the need to position groups or instruments at different places. The type of composition of several voices would play nicely and would be more perceived if the voices where physically separated. The same opposition notion would also work, for melding two voices of different instruments (i.e. sackbut and a singer).
Extended techniques on the pipe organ, 2018
The extended techniques on the pipe organ are other means of producing sound in this instrument. ... more The extended techniques on the pipe organ are other means of producing sound in this instrument. Several composers used their own notation or guiding rules to expand the sounds of the pipe organ. Although Ligeti, since 1960, was the first to become known using these techniques, with his works for pipe organ (Volumina, Harmonies and Couléèe) one can assume that these sounds always existed, but they did not have a formalization. A clear notation and explanation are needed to further develop the interests and facts about these techniques. In an instrument so tied to a functionality, it is paramount nowadays to re-incorporate these techniques in the contemporary pipe organ repertoire and creation. Several new techniques have been developed and a new approach is needed.
Ligeti's Harmonies, 2018
This work concerns the analysis of the pipe organ work Harmonies (1967) composed by the composer ... more This work concerns the analysis of the pipe organ work Harmonies (1967) composed by the composer György Ligeti (1923-2006). Ligeti composed only three works for the pipe organ; Volumina (1961-62, rev. 1966), Harmonies (1967) and Coulée (1969). To fully understand Harmonies, one should acquaint himself with the other pipe organ works, albeit everyone of them has a different approach, the purpose of Ligeti is clear. Sound is the ultimate goal from the composition and notation perspective. So in this vein, one need to use unusual tools to analyze his work, like spectrographic analysis and outside of the box formalization. Even the fingering can bring some logical sense to the way Harmonies was created. Harmonies revolves around a momentum of ten note chords, which a single note of the chord is changed throughout the piece. All ten fingers operate the keyboard, but between the chords, only one note is changed. The notation reflects that intention, alas, the result is not correlated to the pitch written. The sound is an imperceptible continuous transition, achieved through reducing the air pressure of the pipes. The way to achieve this operation is documented by the author and several performers on the notes of the piece and performances. This operation 'starves' the wind supply to the pipes and shifts the spectrum toward a "pale, oddly unfamiliar, 'wilted' sound colours" (Ligeti, 1969). How can one start to analyze such piece of work? Applying conventional analytical tools to the score (in contrast to the graphical score of Volumina) doesn't shed much light on the subject. Since the sound was so important to the author a sound analysis would be valuable asset. The philosophical issue is also important. Why create a composition with written notes, with no relationship with the sound.
Conference Presentations by Cláudio de Pina
Nova Contemporary Music Meeting, 2023
Since 1960, the most prolific period on organ experimentation, we find non-orthodox compositions ... more Since 1960, the most prolific period on organ experimentation, we find non-orthodox compositions on the organ. Composers like Hambraeus, Ligeti, Cage, Kagel and Xenakis, to name a few, changed the paradigm of organ composition with a specific goal in mind-the sound produced by these old instruments. From this collection of works, the ones from the protean composer Ligeti are paramount. From the graphical score of Volumina, the long clusters of Harmonies to the fast torrent
Encontro de Investigação em Música, ENIM, 2022
This presentation concerns the adaptation of contemporary organ works for historical Portuguese o... more This presentation concerns the adaptation of contemporary organ works for historical Portuguese organs. In
this case, the organ of the Ajuda Parish, located in Lisbon near Ajuda Palace, built in the 18th century by
António Xavier Machado e Cerveira and restored in 1988 by António Simões. The chosen repertoire consists
of these works; Harmonies, Coulée, Musica Ricercata, by György Ligeti, ASLSP, ASLSP2
, by John Cage,
Rrrrrrrr..., General Bass, by Mauricio Kagel and Compositions 1960, Piano Pieces for David Tudor, by La
Monte Young. These works needed to be heavily adapted since they were originally composed for piano or a
much larger and modern organ.
Encontro em Música, Tecnologia e Investigação, 2022
The use of extended techniques on the organ produce a myriad of new sounds, unknown to most. Only... more The use of extended techniques on the organ produce a myriad of new sounds, unknown to most. Only a few composers used their own notation or performance notes to express their sonic expansion on the instrument. Since 1960, the most prolific period on organ experimentation, Ligeti, Kagel and Hambraeus were the first to become known for using non-standard sounds on the organ, either mixed with electronics or only using specific extended techniques. From this collection of works, the ones from the protean composer Ligeti are paramount. From the graphical score of Volumina, the long clusters of Harmonies to the fast torrent of notes of Coulée. Kagel develops further with other notations for clusters and graphical gestures in Phantasie für Orgel. Kurt Stone has a chapter on his book, Music Notation in the Twentieth Century, regarding notation on the organ, but it not describes halfdrawn registers, half-depressed keys and does not present anything regarding motor or other air and stops manipulations. A clear case of where using old technology to create modern new sounds. A presentation using spectrograms and different performances of the same pieces completes this case study, to show the sonic potential available in every organ. A clearer explanation is needed on how to obtain these sounds, perform them and notate them for composers and organists. In an instrument so tied to a functionality, it is pertinent nowadays to re-incorporate these techniques in the contemporary organ repertoire.
Ligeti's organ studies, 2021
Nova contemporary Music Meeting 2021
TCPM, 2019
This work concerns the analysis of the pipe organ work Harmonies (1967) composed by the composer ... more This work concerns the analysis of the pipe organ work Harmonies (1967) composed by the composer György Ligeti (1923-2006). Ligeti composed only three works for the pipe organ; Volumina (1961-62, rev. 1966), Harmonies (1967) and Coulée (1969). To fully understand Harmonies, one should acquaint himself with the other pipe organ works, albeit everyone of them has a different approach, the purpose of Ligeti is clear. Sound is the ultimate goal from the composition and notation perspective. Harmonies revolves around a momentum of ten note chords, which a single note of the chord is changed throughout the piece. All ten fingers operate the keyboard, but between the chords, only one note is changed. The notation reflects that intention, alas, the result is not correlated to the pitch written. The sound is an imperceptible continuous transition, achieved through reducing the air pressure of the pipes. The way to achieve this operation is documented by the author and several performers on the notes of the piece and performances. This operation 'starves' the wind supply to the pipes and shifts the spectrum toward a "pale, oddly unfamiliar, 'wilted' sound colours" (Ligeti, 1969). When Ligeti composed for the pipe organ in the 60's it did not exist a continuously variable air valve to control the pressure of the pipes, like in more modern pipe organs (St. Peter's pipe organ in Köln). Although Ligeti studied the instrument, the technology to change the sound the way he wanted, was not available at the time. These ideas of sound manipulation are a consequence of the electronic works Ligeti achieved at the WDR (Westdeutscher RundFunk, Köln) 1. With Artikulation (1958) and Glissandi (1957). Ligeti tried to explore paradigms relating to sound that where impossible to do with acoustic instruments at the time, but has he approached the limit of the electronic systems in Cologne, he started to treat the instruments in another way. 1 1 Studio for Electronic Music of the West German Radio in Cologne.
O órgão histórico da Ajuda, 2020
Este artigo foca-se no órgão histórico da Igreja Paroquial da Nossa Senhora da Ajuda localizada n... more Este artigo foca-se no órgão histórico da Igreja Paroquial da Nossa Senhora da Ajuda localizada na freguesia da Ajuda em Lisboa. Este local situa-se perto do palácio da Ajuda e é conhecida pelos seus habitantes como Igreja da Boa-Hora, devido ao convento augustiniano adjacente. Não existe muita documentação sobre este instrumento. A pouca informação que existe aponta para a possibilidade da sua origem em 1792. O organeiro que o construiu, António Xavier Machado e Cerveira, foi um profícuo construtor de órgãos nesta época. A reconstituição e o restauro em 1988 pelo organeiro António Simões tornou possível o funcionamento deste instrumento. A registação, funcionamento e peculiaridades do instrumento são pertinentes e relevantes. Machado e Cerveira criou uma tipologia e função para o instrumento na época e este órgão é um desses exemplos. Uma especificação deste instrumento revela algumas semelhanças e diferenças face a outros órgãos históricos de Machado e Cerveira. Através de pesquisa de antigos titulares e organistas é possível compreender o percurso deste instrumento. Um enquadramento histórico da edificação da Paroquial, após o terramoto de 1755, corrobora uma possível justificação da existência de um instrumento deste género, neste local. Certos elementos maçónicos e monárquicos no instrumento indicam a estética e financiamento na sua construção. Palavras-Chave Órgão histórico, órgão ibérico, Real Barraca, Paroquial da Nossa Senhora da Ajuda, António Xavier Machado e Cerveira.
Drafts by Cláudio de Pina
Aether Ventus booklet. Historical organ with theremin and modular synth.
Booklet of the album Palimpsestus, acousmatic music.
Uploads
Papers by Cláudio de Pina
Musicum (1614-1620) describes, among many other things, different styles of pipes within the
contemporary organ of his time. Of special note his the description of the organ functioning in
symmetry to the individual instruments that already existed, mimicking their sound (i.e.: flutes, reeds
and strings). One could assume, like Praetorius, that the organ builders would try to imitate the sound
of the other contemporary instruments. Unfortunately nowadays one can’t assume the same. Why there
aren’t organ sounds based on electronics, different kinds of synthesis or perhaps extended techniques of
instruments to better serve nowadays contemporary music? Why does this tendency to have different
sounds stopped? The evolution stopped when and why? Was it a technical difficulty? Don’t we have
enough technology in present day to reformulate the organ? Or is it that the desire of the builders,
composers, organists and the clergy dictated a dogmatic norm?
Conference Presentations by Cláudio de Pina
this case, the organ of the Ajuda Parish, located in Lisbon near Ajuda Palace, built in the 18th century by
António Xavier Machado e Cerveira and restored in 1988 by António Simões. The chosen repertoire consists
of these works; Harmonies, Coulée, Musica Ricercata, by György Ligeti, ASLSP, ASLSP2
, by John Cage,
Rrrrrrrr..., General Bass, by Mauricio Kagel and Compositions 1960, Piano Pieces for David Tudor, by La
Monte Young. These works needed to be heavily adapted since they were originally composed for piano or a
much larger and modern organ.
Drafts by Cláudio de Pina
Musicum (1614-1620) describes, among many other things, different styles of pipes within the
contemporary organ of his time. Of special note his the description of the organ functioning in
symmetry to the individual instruments that already existed, mimicking their sound (i.e.: flutes, reeds
and strings). One could assume, like Praetorius, that the organ builders would try to imitate the sound
of the other contemporary instruments. Unfortunately nowadays one can’t assume the same. Why there
aren’t organ sounds based on electronics, different kinds of synthesis or perhaps extended techniques of
instruments to better serve nowadays contemporary music? Why does this tendency to have different
sounds stopped? The evolution stopped when and why? Was it a technical difficulty? Don’t we have
enough technology in present day to reformulate the organ? Or is it that the desire of the builders,
composers, organists and the clergy dictated a dogmatic norm?
this case, the organ of the Ajuda Parish, located in Lisbon near Ajuda Palace, built in the 18th century by
António Xavier Machado e Cerveira and restored in 1988 by António Simões. The chosen repertoire consists
of these works; Harmonies, Coulée, Musica Ricercata, by György Ligeti, ASLSP, ASLSP2
, by John Cage,
Rrrrrrrr..., General Bass, by Mauricio Kagel and Compositions 1960, Piano Pieces for David Tudor, by La
Monte Young. These works needed to be heavily adapted since they were originally composed for piano or a
much larger and modern organ.