Michele Abondano | SONIC MATTER

Michele Abondano
Biography	Michele Abondano (*1981, Colombia) is a composer, experimental performer and researcher. Her creative work has been developed in the fields of acoustic and electroacoustic music as well as live electronics and collaborative works with dance. Her main interest is to explore timbre, especially its multidimensional and dynamic condition. She is winner of the Grant for the Creation of Contemporary Music awarded by the Ministry of Culture (Colombia, 2015), the ECOES-UNAM Scholarship for an Artistic Residency at the Mexican Centre for Music and Sonic Arts CMMAS (Mexico, 2014) and the Melos/Gandini’11 Grant (Argentina, 2011). She also holds a PhD in Composition from the University of Leeds (2022). Her music has been performed by soloists and ensembles including Lola Malique, Riot Ensemble, Sylvia Hinz, Collective Lovemusic, Rebekah Heller, Aleksandra Demowska-Madejska, Grupo Otraparte, Ensamble Cepromusic, and Compañía Oblicua. Her works are currently published by Babel Scores (France). She has worked as a lecturer at Universidad Distrital Francisco José de Caldas (Colombia) and Universidad de Pamplona (Colombia). Her research has been published in the Proceedings of the 2nd International Conference on Timbre, in the journal Ensayos: Historia y Teoría del Arte, and in Revista ASAB. DESCRIPTION Michele Abondano: «Scraping My Pain, Then I Heal» This composition is an exploration of texture as a dimension of timbre, which allows the association between materiality and metaphor. Thus, scraping is a process of internal searching, a (maybe) painful examination of the inside until finding alleviation (if there is). From this compositional perspective, I work with recordings of improvisation sessions using pieces of plastic and polystyrene to discover kinds of roughness emerged between the materials when being rubbed. These recordings are electronically processed, especially altering the energy distribution of the partials across the spectrum. This technical approach leads to the creation of a field of interaction in which different levels of inharmonicity are explored until it is possible to perceive certain smoothness in roughness itself.
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Michele Abondano

Biography

Michele Abondano (*1981, Colombia) is a composer, experimental performer and researcher. Her creative work has been developed in the fields of acoustic and electroacoustic music as well as live electronics and collaborative works with dance. Her main interest is to explore timbre, especially its multidimensional and dynamic condition. She is winner of the Grant for the Creation of Contemporary Music awarded by the Ministry of Culture (Colombia, 2015), the ECOES-UNAM Scholarship for an Artistic Residency at the Mexican Centre for Music and Sonic Arts CMMAS (Mexico, 2014) and the Melos/Gandini’11 Grant (Argentina, 2011). She also holds a PhD in Composition from the University of Leeds (2022). Her music has been performed by soloists and ensembles including Lola Malique, Riot Ensemble, Sylvia Hinz, Collective Lovemusic, Rebekah Heller, Aleksandra Demowska-Madejska, Grupo Otraparte, Ensamble Cepromusic, and Compañía Oblicua. Her works are currently published by Babel Scores (France). She has worked as a lecturer at Universidad Distrital Francisco José de Caldas (Colombia) and Universidad de Pamplona (Colombia). Her research has been published in the Proceedings of the 2nd International Conference on Timbre, in the journal Ensayos: Historia y Teoría del Arte, and in Revista ASAB.

DESCRIPTION

Michele Abondano: «Scraping My Pain, Then I Heal»

This composition is an exploration of texture as a dimension of timbre, which allows the association between materiality and metaphor. Thus, scraping is a process of internal searching, a (maybe) painful examination of the inside until finding alleviation (if there is). From this compositional perspective, I work with recordings of improvisation sessions using pieces of plastic and polystyrene to discover kinds of roughness emerged between the materials when being rubbed. These recordings are electronically processed, especially altering the energy distribution of the partials across the spectrum. This technical approach leads to the creation of a field of interaction in which different levels of inharmonicity are explored until it is possible to perceive certain smoothness in roughness itself.

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