Program Note
Centrifugus is an acousmatic work for 8 channels. This piece deals with the spatialization of sound objects based on centrifugal forces. How do we construct the geometrical center from the movement of sounding objects? A Neuter material that contrasts with noises and crackles is spatialized in each section with different centrifugal trajectories. Each time that those materials are reexposed different centrifugal trajectories are applied. This work experiments with the relationship between the musical material and their perception when they are reexposed with different geometrical centers. The cognition of variation of the sounding materials is made using different centrifugal strategies. Like changing the number of centers, the position of the centers, the type of centrifugal trajectories, the direction of the trajectories, and the velocity of the trajectories. There is a formal climax created by the growing complexity of the use of these variations.
Eight sources are used to apply the spatial variations. Each one of these sources has been produced by a generative algorithm in MAX/MSP. The work begins with conventional trajectories and one geometrical center. Slowly, the number of centers increases, and their position moves and changes, creating different centrifugal trajectories around different centers located in different positions. Furthermore, the centrifugal trajectories are more complex. Most of the used trajectories followed a spiral form. The conflict between the different centers creates a sort of spatial cognitive tension that can be interpreted as a spatial dissonance that arises from the different possible cognition of the center and the trajectories. The trajectories were made with the software Space Control. This spatial tension is relaxed at the end of the work by returning to the original simplicity.
About the Composer
Fernando Egido studied composition with José Luis de Delás at the School of Music of the University of Alcalá de Henares and received musical training in workshops with composers, analysts, and interpreters around the LIEM or the GCAC. He studied Computer Music with Emiliano del Cerro.
He has published several papers at international conferences.
His works have been performed at festivals such as ICMC 2023 in Shenzhen and 2024 in Seoul, ICSC 2024 Viena and 2022, precept.concept.percept, Artificial Intelligence Music Creativity 2022 in Tokyo, Convergence festival, Ars electronica Linz, Atemporánea festival, AIMC 2022 conference, EVO 2021, OUA Electroacoustic Music Festival 2020, ISMIR 2020 in Montreal. The Seoul International Electroacoustic Music Festival 2019, the ACMC 2019 conference in Melbourne, SID 2015 conference in New York, Venice Vending Machine III, New York City Electroacoustic Music Festival, JIEN in the Auditory 400, SMASH Festival, Encontres Festival.