for fixed media playback (2020)
Three complete sonic entities // one sonic space. A collective construction, a reflection of different interpretations and the interaction of the same idea. Virtualization of the dialogues.
Alyssa Aska is fascinated with the architecture of music, both spatially and temporally. She composes works which explore extremes in time and space, using rigid proportions to generate forms in acoustic works and exploring the unpredictable duration and lack of control in gamified works. This is closely tied to her compositional style, which is concerned with a delicate balance between elements of functional form and elements of pure aesthetic purpose. As much structure as possible, as many ornaments as necessary (and vice versa). She studied in the US with Robert Kyr, David Crumb, and Jeffrey Stolet, in Canada with Robert Pritchard, Keith Hamel, and David Eagle, and in Austria with Marko Ciciliani and Klaus Lang. Her works have been performed worldwide at various concerts and festivals such as ICMC, EMS, Impuls, Darmstadt Summer Courses, Musikprotokoll, Tonraum21, ComposIt, Mirkofest Helsinki, Microtonal Festival Prague, CrossROADS Festival, WasteLAnd Academy, and others.
Pablo Mariña (México, 1989) graduated from Centro de Investigación y Estudios de la Música (CIEM), student of teacher María Antonieta Lozano and part of the composition workshops given by Enrico Chapela, Víctor Rasgado and José Julio Díaz Infante. He has taken master classes and seminars with cellist Johannes Moser and with violinist Irvine Arditti.
He has composed music for several experimental animation short films, including ̈L.(VR) ̈ exhibición in Virtual VIS Vienna Shorts, Vienna, Austria, 2018. “L.” selected for exhibition at Bienal UNL, Argentina 2016; Animasivo, Mexico 2016; SGAE, Spain 2016. “Celeste” at Cisneros Fontanals Art Foundation (CIFO) in Miami, Florida 2014. Also, finally “I.” for the Germinal Festival in Casa del Lago 2014.
He was part of Los Juiles, an ensemble of folk music, and in December 2012 they premiered and performed his work “Coacción” for percussion Bashet and disarmed battery, transmitted in Opus 94.5 and RadioUNAM.
His works: “T.A.B.U.” for flute and live electronics was premiered and recorded by Alejandro Escuer at Antiguo Colegio de San Ildefonso (2016). “Dimensión” for Chamber Orchestra was part of the selection and premiered in the Festival Ciudad Sinfónica 2015. “Dogma” for string quartet and “F.M.” for wind quintet, were premiered by the Quartet Arcano and the Quinteto de Alientos of Mexico City respectively, in the Manuel M. Ponce Hall of Fine Arts.
Martin Ritter studied composition in Canada and currently lives in Graz, Austria. He writes both electronic as well as instrumental works and is performed across Europe, North America, and Asia. As a composer he is interested in the intersection of music, technology, and performance. As a researcher he works with digital tools in order to analyze and understand electronic music. His music and research are featured regularly at conferences and festivals such as ICMC, NIME, EMS, eContact!, Impuls, Darmstadt, ComposIt, MusCan, TENOR. He has received scholarships like the Joseph-Armand Bombardier Canada Graduate Scholarship, the University of Calgary Technologies International Inc. Fellowship Scholarship, Alberta Innovates – Technologies Futures Scholarship, and the Joseph and Melitta KANDLER Scholarship for Advanced Music Study.
He holds a DMA in composition from the University of British Columbia where his primary teachers were Drs. Keith Hamel and Robert Pritchard, and is currently pursuing a PhD in Computational Media Design at the University of Calgary with Drs. Friedemann Sallis and Jeffrey Boyd. At the Universität für Musik und darstellende Kunst Graz he studied with Klaus Lang and Marko Ciciliani.