Research Catalogue

Pagina para recopilar los textos y ejercicios del modulo, Sensilidades del lenguaje.

A silence lingers where words once stood, a fragile pause between what was said and what remains forever untold. I’m gonna build the cemetery of echoes, words suspended in time, each gaze a question, each absence a weight. Fragments of lives held in stillness, unfinished moments longing for release. Across the space, words rise like shadows. Memory dances with loss, the tangible and the fleeting entwined. It is not closure we seek, but the tender acknowledgment of incompleteness.

Transmutations seeks to redefine the term transformation through a staged concert — a concert conceived as a work of art in itself. The traditional concert format and conventional performance practices are showing signs of stagnation, thus calling for the emergence of a voice adapted to this transformation. The boundaries of music, especially within the classical realm, have gradually blurred in recent times. Increasingly, artists are exploring the concert as a form of expression that not only integrates other artistic disciplines but also embraces technological advancements. This approach challenges traditional aesthetic conventions and the notion of genre and musical style. The omnipresence of technology in contemporary society underlines the need for research that explores the many possibilities of the concert format. This staged concert aims to redefine the concept of transformation by avoiding any stylistic boundaries. The works of Richard Strauss, John Cage, and Alexander Schubert are included not only for their artistic value but also for their contribution to the very notion of transformation.

This study dives into the realms of games and music, examining their history and the recent interest in the intersection of their features. The proliferation of research surrounding these two distinct yet interconnected fields has led to the emergence of new theories, reflections, and applications. While historical perception has commonly conceived "play" as a less serious activity, particularly in academic and artistic environments, this study explores how recent artistic movements have reclaimed its significance. Both games and music contribute to a particular cultural proliferation. Moreover, the technological landscape has further amplified the impact of these artistic endeavors, with entertainment platforms experiencing widespread dissemination and an exponential increase in user engagement. Drawing inspiration from prior research, the study aligns with other analytical frameworks while consciously narrowing its scope to the performer-composer relationship. This intentional focus aims to delve deeper into the intricacies of this dynamic without dismissing the importance of the audience, framing it as a subject of debatable relevance within the study's specific analytical scope. In conclusion, this study offers a comprehensive exploration of the relationship between games and music, shedding light on their shared history, contemporary developments, and the dynamics between performers and composers in the evolving landscape of artistic expression.

Throughout our musical history, many female composers’ figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852–1932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: “How can I share it engagingly with the audience?”. To carry out this project, the methodology involves a literature review of Eugenia’s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.

Editorial of the inaugural edition of ARJAZZ Journal for Artistic Research in Jazz (May, 2025)