CV Lattes
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Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA) (Institutional affiliation for the last research proposal) Birthplace: Brazil
Silvio Ferraz, (b. 1959, S.Paulo) studied composition at Universidade de São Paulo (USP) under the guidance of Gilberto Mendes and Willy Correa de Oliveira, the two more important composers of the Brazilian Musica Nova movement. The contact with Brian Ferneyhough in Royaumont?s Voix Nouvelle course, in 1994, and Gerard Grisey at the IRCAM's "Académie d'été" was important to define his musical style. Since 1985, his music has been performed in Brazil and in Europe, at the ?Festival Musica Nova?, ?Bienal de Música Brasileira Contemporânea? (S.Paulo and Rio de Janeiro) ?Festival d?Automne? (Paris, 1994), ?Sonidos de las Americas? (Carnegie Hall-N.York, 1996) and ?Encuentro de Compositores de Chile? (Santiago, 2006). His music have been played by ensembles like Grupo Novo Horizonte e Duo Diálogos (Brazil), The Nash Ensemble e The Smith Quartet (England), o Ensemble Contrechamps (Switzerland), The Ictus Ensemble, Het Spectra Ensemble (Belgium) e Nord Ensemble (Denmark). Grupo Novo Horizonte, Duo Contexto e The Smith Quartet in CDs, recorded some of his compositions. Author of two books about contemporary music (Música e repetição and Livro das sonoridades), professor of composition at the Campinas University (UNICAMP) from 2002 till 2013, since 2014 is professor of composition at the University of São Paulo (USP) (Source: Lattes Curriculum)
The main objective of this project is to stimulate the research in the cross-domain of musical creation and performance, having by focus the practice and use of extended techniques as musical resource en contemporary music. So, this research will be lead en the cross-domain of composition and performance by the way of propositions of musical experience, which explores and develops strateg…
The visit of Prof. Dr. Makis Solomos, is part of an extensive exchange project between the department of music of the Instituto de Artes (IA) of the University of Campinas (UNICAMP), the Interdisciplinary Nucleus of Sound Communication (NICS) of the same University and the University of Paris VIII, Nanterre, France. As part of this project researchers from UNICAMP have participated in cou…
The project's main objective is developing a center of studies related to the computer's presence, so as a precompositional tool as much as an effective music instrument. Our goal is the research on composition and performance's new digital ambients looking for strategies and composicional thoughts that can be associated to them. Focused formerly on the compositional and performance aspec…
Contemporary music and artistic practices have produced a wide variety of hybrid objects that put in scene the contact between more than one artistic language. The project proposes theoretical strategies and analytical practices for the description of these objects, and the construction of a creative process that is motivated by the theoretical-analytical developments of the research. Anc…
The project aims to analyses of works It's Gonna Rain, Tape Music, and 2x5, for five instrumentalists (two electric-guitars, one electric-bass, one piano and one drum) and tape, or for ten instrumentalists (with twice the instrumentation), both of the American composer Steve Reich (1936). The research started with PIBIC scholarship (2017/2018), focusing in the history of Tape Music and th…
This research investigates the voice as a possible central motor in musical composition. Unlike usual relations of the voice as carrier of language, or versatile instrument, or even as manipulable sonority, this work searches for a direct and constitutive relation between voice and composition, in which composition arise from the voice, not about it. Therefore, the relational unicity of v…
This Master's project is an extension of the Scientific Initiation Research "The dialogue between solfège and compositional processes", financed by FAPESP in 2017. In it, the "solfège" was studied within the musical composition starting from the theoretical materials of Pierre Schaeffer, Denis Smalley, Rodolfo Caesar and Silvio Ferraz. After those, came the theoretical and artistic produc…
(Only some records are available in English at this moment)
In this project we will research, within the instrumental/vocal contemporary music sphere, the various procedures of musical writing and their features related to models of perception, solfége, compositional intentions and idiosyncrasies of the supports of creation in use. In other words, how those matters are in intimate dialogue with the notation itself and its representational possibil…
The main objective of this research stage - hosted at the Steinhardt NYU (New York University) - consists of investigating new models of interaction between acoustic instruments and live-electronics manipulations. In consequence, we will investigate the changes that are taking shape in the relationship between composer, performer, performance and audience. To this end, the following quest…
This project proposes a ten-month research internship (April/2016 to December/2016) in the Musical Composition PhD Program of Arts Research Graduate School - Faculty of Arts of Monash University in Melbourne, Australia, under the supervision of the professor and composer Prof. Dr. Thomas Reiner. This internship aims to complement the PhD research project currently developed at the Postgra…
(Only some records are available in English at this moment)
| 24 / 3 | Completed research grants |
| 1 / 1 | Ongoing scholarships in Brazil |
| 67 / 34 | Completed scholarships in Brazil |
| 8 / 7 | Completed scholarships abroad |
| 100 / 45 | All research grants and scholarships |
| Associated processes | |
(References retrieved automatically from State of São Paulo Research Institutions)
TAFFARELLO, Tadeu Moraes. O percurso da intersecção Olivier Messiaen-Almeida Prado : Momentos, La Fauvette des Jardins e Cartas Celestes. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (05/58967-8)
SILVA, William Teixeira da. Uma nova retórica para a música contemporânea. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (13/02765-4)
CASTELLANI, Felipe Merker. Corpo-imagem-som : a criação musical e suas conexões. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (10/20191-7)
VELLOSO, José Henrique Padovani. Música e técnica : reflexão conceitual, mecanologia e criação musical. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (08/10538-0)
SILVA, William Teixeira da. Por uma performance retórica da música contemporânea. Tese (Doutorado) - Escola de Comunicações e Artes. Universidade de São Paulo (USP). São Paulo. (15/00136-5)
ZUBEN, Paulo Roberto Ferraz von. Ouvir o som aspectos de organização na música do século XX. 114 f. Dissertação (Mestrado) - Programa de Estudos Pós-Graduados em Semiótica. Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo. (00/10326-0)
COPINI, Guilherme de Cesaro. Musica espectral : o tempo musical conforme Gerard Grisey. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (07/57176-2)
LIMA, Rodrigo da Silva. Da nota ao som : explorando territorios harmonicos. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (05/58786-3)
PENHA, Gustavo Rodrigues. Entre escutas e solfejos : afetos e reescrita crítica na composição musical. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (11/00784-6)
OLIVEIRA, Francisco Zmekhol Nascimento de. A escrita rítmica de Olivier Messiaen e seus desdobramentos em outros aspectos de sua prática composicional. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (11/16714-7)
MAIA, Igor Leão. Klangfarbenmelodie : orquestração do timbre. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (11/16715-3)
COSTA, Rogério Luiz Moraes. O músico enquanto meio e os territórios da livre improvisação. 177 f. Tese (Doutorado) - Programa de Estudos Pós-Graduados em Semiótica. Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo. (00/11379-0)
PENHA, Gustavo Rodrigues. Reescrituras na música dos séculos XX e XXI. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (08/56109-2)
FERREIRA, Guilherme Antonio Celso. Fotografia melódica : relações e cálculo intervalar. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (07/00331-6)
SIMURRA, Ivan Eiji Yamauchi. A recriação timbrística na música espectral. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (10/12608-5)
CASTELLANI, Felipe Merker. Uma abordagem sobre a noção de gesto musical nas poéticas de Luciano Berio e Brian Ferneyhough. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (08/07612-3)
RIBEIRO, André Silva Pereira de Oliveira. Das proximidades a distancia : um percurso entre as instabilidades da musica. Dissertação (Mestrado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (04/11439-4)
PENHA, Gustavo Rodrigues. Entre escutas e solfejos : afetos e reescrita crítica na composição musical. Tese (Doutorado) - Instituto de Artes. Universidade Estadual de Campinas (UNICAMP). (11/00784-6)
ROSSETTI, Danilo Augusto de Albuquerque. Processos microtemporais de criação sonora, percepção e modulação da forma = uma abordagem analítica e composicional = Microtemporal processes of sound construction, perception and form modulation: an analytical and compositional approach. Tese (Doutorado) - Universidade Estadual de Campinas, Instituto de Artes. (13/00155-4)
PACKER, Max. Dobra, redobra, desdobra: comentário e abertura composicional de obras musicais. Tese (Doutorado) - Escola de Comunicações e Artes. Universidade de São Paulo (USP). São Paulo. (14/08908-4)