SONUS - v2
Paradoxa (2000), 00:08:03Ivan Zavada http://www.optosonic.com
Nationality: Australia, Canada
Residence: Australia
Biography: Searching for a correlation between sciences and musical creation, Ivan Zavada studied electroacoustic composition at the University of Montreal, Canada. He has lectured in computer music and electroacoustic theory. As a composer, he created several soundtracks for documentary film, as well as short and feature films. As a violinist and composer he also participated in several concerts and recordings with various music ensembles. His current research focus is on the interactive relationship between image and sound. Ivan Zavada is currently based in Sydney, Australia and mainly devotes his time to research, teaching and composition.
Ivan Zavada’s role as a composer, programmer and designer is strengthened by the prospects of creating innovative, large scale and high impact multi-sensorial events incorporating sophisticated audiovisual techniques to express artistic individuality in a post-modern society in a clear transition toward a more defined digital era. In general, Zavada’s work questions the conceptual nature of music by examining the relationship between concrete sounds and visual elements of abstraction. The combination of sound and image in multiple layers challenges the medium’s representational paradigm in the digital realm, and makes electroacoustic composition and optosonic design particularly interesting and significant today.
Program Notes: Contradiction which may lead to abstract reasoning. This composition emerged by itself, and triggered an evolutive process that made me discover the rich possibilities one has to sculpt sonic material and generate emotions. Positive, negative or no emotions at all. Hence, this paradox tries to validate a sound processing prototype with which I am always in confrontation.
Mainly, I programmed a module in Csound to vary an audio loop in real time. This variation of a repetitive cell constantly regenerates new material. I used some excerpts from my own instrumental compositions to recreate a paradox with respect to the original material. This abstraction finds its meaning in the final coda that neutralizes the previous paradox.
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CEC: Sonus
CEC: JTTP 2001
