Salvador Torré
Salvador Torré is a composer, concert performer and Director of the Department of Musical Composition of the National Conservatory of Music of Mexico, doctoral at the Paris-VIII University and a doctoral researcher at the IREMUS, Institute of Musicology Research in Paris.
In the eighties he studied at the Conservatories of Boulogne and Pantin in France, studying Musical Composition, Flute Concert Soloist, Electroacoustic Composition and Musical Pedagogy. He participates in the activities and courses of the IRCAM, Institute of Acoustic and Musical Research, Paris. In the nineties he has been invited as a resident professor at the Music Conservatory of Music of Montreal in Canada.
The works of Salvador Torre have been performed among other places, in the U.S. (New York, San Francisco, San Diego) London (Royal School of Music) Paris (Center Georges Pompidou and many others) Germany (Darmstadt Festival) Canada, Japan, Slovenia, Chile, and in Mexico at the Cervantino International Fest and, for 30 years now, in the well known International Forum of New Music Manuel Enríquez. His music have been recorded through a dozen of CDs.
Salvador Torré has represented Mexico, among other important festivals in the UNESCO International Rostrum of Composers and other International Festivals as "World Music Days".
Salvador Torré is a Composition Professor at the National Conservatory of Music of Mexico from 1990 to date and since 1997 he is a member of the renowned Price of his country The National System of Art Creators.
Supervisors: Makis, Horacio, Antonia, Anne , and José Manuel
In the eighties he studied at the Conservatories of Boulogne and Pantin in France, studying Musical Composition, Flute Concert Soloist, Electroacoustic Composition and Musical Pedagogy. He participates in the activities and courses of the IRCAM, Institute of Acoustic and Musical Research, Paris. In the nineties he has been invited as a resident professor at the Music Conservatory of Music of Montreal in Canada.
The works of Salvador Torre have been performed among other places, in the U.S. (New York, San Francisco, San Diego) London (Royal School of Music) Paris (Center Georges Pompidou and many others) Germany (Darmstadt Festival) Canada, Japan, Slovenia, Chile, and in Mexico at the Cervantino International Fest and, for 30 years now, in the well known International Forum of New Music Manuel Enríquez. His music have been recorded through a dozen of CDs.
Salvador Torré has represented Mexico, among other important festivals in the UNESCO International Rostrum of Composers and other International Festivals as "World Music Days".
Salvador Torré is a Composition Professor at the National Conservatory of Music of Mexico from 1990 to date and since 1997 he is a member of the renowned Price of his country The National System of Art Creators.
Supervisors: Makis, Horacio, Antonia, Anne , and José Manuel
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Thesis Chapters by Salvador Torré
This work aims to analyze, through the genre called Instrumental Theater, which is associated with chamber music works that as an intrinsic part of the composition include elements such as indications of body and spatial movement, acting, scenery and text, the way in which the musician, and in particular the percussionist, has been acquiring an interpretive role that is no longer limited to instrumental performance, but has also been incorporating scenic resources that require the conscious use and management of gesture and scenic intention. The use and application of these concepts is approached through an analysis of the interpretive decision-making process through two works: Pop-Wuj I by Salvador Torré and Stück by Wolfgang Rihm, both for three percussionists. A brief retrospective of the genre and some of its forerunners and major influences such as John Cage, Mauricio Kagel, the Fluxus movement, and its philosophical and aesthetic principles is included.
The subject we have chosen, the link between voice and technology, is the main thread of our intimate research. It allows us to enter a more analytical vision of the aesthetics of contemporary music and musical composition.
In this thesis we will combine voice and electroacoustics, the two ends of a chain of instrumental complexity, in a perpetual round trip. The voice is an object of fascination, which has had a place of prime importance in electroacoustic musical composition. Its universality, its malleability and the fact that it carries meaning have, in fact, incited contemporary composers to renew the exploitation of this "instrument of music" at the same time as "means of communication". We wanted to analyze this unexpected marriage and see how these two poles are presented since the appearance of so-called electroacoustic music in the 1950s. We will also seek to elucidate the nature of the combination between voice and voice, Electroacoustic, which constitutes a form of fascinating mystery.
To know the general topics please go to the index of the work.
At the end of the work you will find a list of pieces that combine voice and electroacoustic which can be a listening guide for researchers and lovers of this passionate music.
Papers by Salvador Torré
Conference Presentations by Salvador Torré
This work aims to analyze, through the genre called Instrumental Theater, which is associated with chamber music works that as an intrinsic part of the composition include elements such as indications of body and spatial movement, acting, scenery and text, the way in which the musician, and in particular the percussionist, has been acquiring an interpretive role that is no longer limited to instrumental performance, but has also been incorporating scenic resources that require the conscious use and management of gesture and scenic intention. The use and application of these concepts is approached through an analysis of the interpretive decision-making process through two works: Pop-Wuj I by Salvador Torré and Stück by Wolfgang Rihm, both for three percussionists. A brief retrospective of the genre and some of its forerunners and major influences such as John Cage, Mauricio Kagel, the Fluxus movement, and its philosophical and aesthetic principles is included.
The subject we have chosen, the link between voice and technology, is the main thread of our intimate research. It allows us to enter a more analytical vision of the aesthetics of contemporary music and musical composition.
In this thesis we will combine voice and electroacoustics, the two ends of a chain of instrumental complexity, in a perpetual round trip. The voice is an object of fascination, which has had a place of prime importance in electroacoustic musical composition. Its universality, its malleability and the fact that it carries meaning have, in fact, incited contemporary composers to renew the exploitation of this "instrument of music" at the same time as "means of communication". We wanted to analyze this unexpected marriage and see how these two poles are presented since the appearance of so-called electroacoustic music in the 1950s. We will also seek to elucidate the nature of the combination between voice and voice, Electroacoustic, which constitutes a form of fascinating mystery.
To know the general topics please go to the index of the work.
At the end of the work you will find a list of pieces that combine voice and electroacoustic which can be a listening guide for researchers and lovers of this passionate music.