CULTURE

Matamoros



First Name Gustavo
Last Name Matamoros
Expertise / Competencies -Electronic Music.
Short description Born in Caracas, Venezuela in 1957. Composed extensively using electroacoustic medias. His creations includes mixed pieces, compositions for tape, performances, installations, radiophonic works and multimedia spectacles.
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Bio Among other pieces Matamoros composed: “Cervatana Music” for flute and live processing in 1982; “142857” for tape in 1986; "Truly Yours" for xylophone and tape in 1987; "Con el dedo en el timbre", a multimedia work involving 1 reed (or MIDI wind controller), 1 string, 1 percussion, dancer, video, lights and tape, in 1990; “To the Victims…” for snare drum and tape, Sin Ninguna Imperfección…” for up to 8 instruments and tape, “In Memory of Gentle Giant II”, and “Auto-Retrato” for live electronics with video, all four pieces in 1991; “Heavy Metal” for amplified music stand and tape, and “37, for instance, or 36, to John Cage” for string orchestra and tape, both in1992; “Una Guitarra…Toca Sola” for live electronics and text, and “Dreamcatcher” for string quintet, vocoder and tape, both in 1993; “Music On A Budget”, 5 short pieces: “Variations on a Shoe String” for amplified pencil and shoe string, “Sound Consumption” for amplified burning match, “More for Less, or Time is Money” for as many musicians as possible, “Pocket Change” for amplified loose coins, and “Cheaper Imitation: Stars & Strips Forever More” for electronically processed tape, also in 1993; "Ventanas de Contacto" for amplified double bass and gated tape in 1994; “RE: TdM(are), for Anthony deMare” for piano, voice, gates and tape, and “Private Thoughts/Public Forum” for 3 readers, gates and 3 channels of tape, both in 1995; “Piano, ma non tango” for piano, gate and tape, and “Mapa/Memoria” for 6 channels of sound, gates, microphones and dancer, both in 1996; “Trump(s) Car(d)” for brass quintet, drum set, gates and tape in 1997; “Sing and Follow the Leider” for voice, musical saw, gated tape in 1998; “Fishtank: Music BorderLine” and F”ishtank: B(ey)ON'K(ey) West”, two evening-long pieces constructed by the overlapping of several unrelated sound and video pieces, both also in 1998; “In my Mind as I Work” for gated saw and wooden plank in 2000; “Electra” for 5 channel gated soundscape for play, “An Old Shoe…” for saw and tape, and “Sounds Gathered” for any number of participants recorded, all three works in 2001; and “FTNK GTR: Evidence No 1” for gated Fishtank GTR in 2003.

He has been composing also a series of Portraits (Retratos) working with sound materials coming from the same people on the portraits, some of them are: “Retrato: Flores Chaviano” for guitar and tape, and “Retrato: Joseph Celli” for oboe and tape, both in 1990; “Retrato: Bob Gregory” for reader and tape in 1990; “Retrato: Luis Gómez-Imbert” doublebass and tape, and “Retrato: Ricardo Dal Farra” for tape and real time processing, both in 1992.

Some of his “Sound Paintings on Tape” are: “Sound Painting with Dreams and Spirits”, a 15 minute loop from 1997; “Sound Painting with Piano”, a 10 minute loop from 1998; and “Sound Painting with Harp and Gongs”, an 8 minute loop from 1999. And among his radiophonic works: “La Pieza/NMA-Miami Version” from 1988; “Tracing the Radio Landscape” and “Preparing The Air To Let The Rhythm Be Heard And Help The City With Its Dancing”, both from 1992.

About his installations, some of them are: “R con R”, with Fred Snitzer, a collaborative installation incorporating toy trains & sound, from 1989; “Ferrocarril”, with Fred Snitzer, a collaborative installation incorporating computer-controlled toy trains & sound, from 1990; “Hold On!!!”, a sound installation from 1991; “The Garden”, with Kate Rawlinson and Diane Dawes, a collaborative installation incorporating sound, painting & sculpture, from 1992; “The Ear of the Beholder”, an interactive mixed-media sound sculpture from 1993; “An Interaction of Ideas, an installation of sound and computer images”, with Tom Schmitt, a collaborative installation from 1994; “Field”, with Larry Cressman, a collaborative installation incorporating sticks, glass, custom multiple speaker system & sound, from 1994; “¿METAPHOR?”, a sound installation from 1995; “Fishtank GTR”, a four gate triggering instrument for improvisation, and “William Tells of Rights”, recorded text broadcasted through a snare drum, both from 1997; “Dreams & Spirits”, an outdoor sound installation that consists of sounds captured with the aid of antennae, from 2000; “Dreams Gathered”, encoded dreams of North Miamians set free as projected images and broadcast sounds using two window sites at opposite sides of 125 street, from 2001; “Symbiosis by Osmosis”, 4 channel sound installation planted in a garden, idling bus sounds from the nearby bus stop, from 2002; and “Breezeway”, 6 speaker sound model of public art project, from 2003.

Matamoros lives in the United States. He is the Artistic Director of the Subtropics New Music Festival held in Miami each year since 1989, and also founding director of the Sound Arts Workshop since 1996.

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