julio estrada
UNAM Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, Escuela Nacional de Música, UNAM
Research on Musicology of Music creation
Phone: (52) 55 5622.7250 & 55 5622.6999 extensión 85058
Address: Instituto de Investigaciones Estéticas
Circuito M. de la Cueva s/n
CU, México DF 04510
Phone: (52) 55 5622.7250 & 55 5622.6999 extensión 85058
Address: Instituto de Investigaciones Estéticas
Circuito M. de la Cueva s/n
CU, México DF 04510
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Papers by julio estrada
The story of Mozart's Requiem, his unfinished and best known mass, is shrouded by true anecdotes and also by legend: Mozart sees death approaching, represented by a messenger dressed in gray who anonymously commissions the work. The most rigorous references (Hildesheimer, 1979, and Dictionnaire Mozart, 1990) do not find in Mozart's letters any reason to think that he was ill, judging by the robustness of the pulse in his writing at the time. Contradictorily, these biographies give an aseptic idea that tries to deny the illness experienced by the composer: writing the Requiem would be just another task-in this case attractive because of the economic stimulus. The reality was different.
contralto, tenor, and bass (1999–2002, Estrada D2002a, b), one of the various modules that constitute Murmullos del Páramo, an opera (1992–2006) based on the novel Pedro Páramo by Juan Rulfo, where the phantasmagoric nature of the characters is perceived as murmurs that echo through the underworld of Comala (Rulfo 1982). The voices of all the personae included in the libretto of the opera appear in HUM, a meeting place for solitary presences: Doloritas Páramo, wife of the village tyrant
and mother of Juan Preciado; Juan himself; the tyrant [whose name Rulfo gives to the novel], father of Abundio Martínez the muleteer and of Miguel Páramo, among others; Susana San Juan, object of desire of the master of Comala; an old woman; the mother of Pedro Páramo; and Eduviges Dyada, Damiana Cisneros, and Dorotea.
The Mayan word "hum" means murmur — an allusion to the original title of the novel,
Los murmullos (Rulfo 1954, 6–7)—and can be heard as independent from the opera, either as an a capella work or in a version in which the voices move in a vault made of loudspeakers. In the staged or radio versions of the opera Murmullos del páramo (Estrada D1992), HUM is found scattered throughout the length of the entire musical evolution as a series of short passages that appear together with sonorous elements—voices of actors and environmental sounds—and musical elements— Mictlan, for female voice, noise-maker, guitar, and contrabass (1992), and Mictlan’ome, for sho,
trombone, and contrabass. The polymodular form this aggregate of parts adopts in the opera creates a sort of resonant labyrinth that attempts to offer a musical version of the broken structure of the novel.
Méthodes d'enregistrement chronographique d trajectoires simples ou complexes et leur conversion en notation musicale.
sought to rectify my restless beginner’s attitude in the face of the influence of Bartók: “Assimilate, rather than reject influences.” This motto of Orbón gives me the opportunity to enter into subjects that touch on your beneficent influence during my formative period, which I will better clarify by going back to your origins.. Perspectives of New Music
Vol. 39, no. 1 (Winter 2001): 215–30
The story of Mozart's Requiem, his unfinished and best known mass, is shrouded by true anecdotes and also by legend: Mozart sees death approaching, represented by a messenger dressed in gray who anonymously commissions the work. The most rigorous references (Hildesheimer, 1979, and Dictionnaire Mozart, 1990) do not find in Mozart's letters any reason to think that he was ill, judging by the robustness of the pulse in his writing at the time. Contradictorily, these biographies give an aseptic idea that tries to deny the illness experienced by the composer: writing the Requiem would be just another task-in this case attractive because of the economic stimulus. The reality was different.
contralto, tenor, and bass (1999–2002, Estrada D2002a, b), one of the various modules that constitute Murmullos del Páramo, an opera (1992–2006) based on the novel Pedro Páramo by Juan Rulfo, where the phantasmagoric nature of the characters is perceived as murmurs that echo through the underworld of Comala (Rulfo 1982). The voices of all the personae included in the libretto of the opera appear in HUM, a meeting place for solitary presences: Doloritas Páramo, wife of the village tyrant
and mother of Juan Preciado; Juan himself; the tyrant [whose name Rulfo gives to the novel], father of Abundio Martínez the muleteer and of Miguel Páramo, among others; Susana San Juan, object of desire of the master of Comala; an old woman; the mother of Pedro Páramo; and Eduviges Dyada, Damiana Cisneros, and Dorotea.
The Mayan word "hum" means murmur — an allusion to the original title of the novel,
Los murmullos (Rulfo 1954, 6–7)—and can be heard as independent from the opera, either as an a capella work or in a version in which the voices move in a vault made of loudspeakers. In the staged or radio versions of the opera Murmullos del páramo (Estrada D1992), HUM is found scattered throughout the length of the entire musical evolution as a series of short passages that appear together with sonorous elements—voices of actors and environmental sounds—and musical elements— Mictlan, for female voice, noise-maker, guitar, and contrabass (1992), and Mictlan’ome, for sho,
trombone, and contrabass. The polymodular form this aggregate of parts adopts in the opera creates a sort of resonant labyrinth that attempts to offer a musical version of the broken structure of the novel.
Méthodes d'enregistrement chronographique d trajectoires simples ou complexes et leur conversion en notation musicale.
sought to rectify my restless beginner’s attitude in the face of the influence of Bartók: “Assimilate, rather than reject influences.” This motto of Orbón gives me the opportunity to enter into subjects that touch on your beneficent influence during my formative period, which I will better clarify by going back to your origins.. Perspectives of New Music
Vol. 39, no. 1 (Winter 2001): 215–30
In memory of an exceptional being, artist, interpreter-researcher, teacher, wife and guide of a family that always retains her presence.
En mémoire d'un être exceptionnel, artiste, interprète-chercheur, enseignant, épouse et guide d'une famille qui garde à toujours sa présence.
Im Gedenken an eine außergewöhnliche Persönlichkeit, Künstlerin, Dolmetscherin und Forscherin, Lehrerin, Ehefrau und Führerin einer Familie, die sie immer präsent hält.
INCLUYE NUEVA LISTA DE LAS OBRAS, FRAGMENTOS DE PARTITURAS, FOTOGRAFÍAS, BREVE CV, BIBLIOGRAFÍA SELECTA, ETCÉTERA. CON ADICIÓN DE PORTADA DEL LIBRO "JULIO ESTRADA. MEMORIES AND SHADOWS IN THE IMAGINARY. A BIOGRAPHY," DE JAMES L. MCHARD, ICONIC PRESS, 2015, 369 PAGES. amchard@att.net
JULIUSEDIMUS, CATALOGUE COMPLET DE L'OEUVRE MUSICALE, 2024
COMPRENDS UNE NOUVELLE LISTE DES OEUVRES, FRAGMENTS DE PARTITIONS, PHOTOGRAHPIES, BREF CV, UNE BIBLIOGRHIE SELECTE, ETCÉTÉRA . AVEC L'ADDITION DE LA COVERTURE DU LIVRE "JULIO ESTRADA. MEMORIES AND SHADOWS IN THE IMAGINARY. A BIOGRAPHY," DE JAMES L. MCHARD, ICONIC PRESS, 2015, 369 PAGES. amchard@att.net
A COMPLETE UPDATED CATALOG OF MUSICAL WORKS, 2024
INCLUDES A NEW LISTE OF THE WORKS, TEXTS, SCORE FRAGMENTS, PHOTOGRAPHIES, SHORT CV, A SELECTED BIBLIOGRAPHY , ETCÉTÉRA. WITH THE ADDITION OF THE BOOK "JULIO ESTRADA. MEMORIES AND SHADOWS IN THE IMAGINARY. A BIOGRAPHY," DE JAMES L. MCHARD, ICONIC PRESS, 2015, 369 PAGES. amchard@att.net
A casi un cuarto de siglo de la muerte de Orbón, Estrada desvela detalles personales poco difundidos del compositor hispano-cubano que brindan un perfil acaso más amplio, aunque siempre incompleto del inolvidable personaje.
bigger. For instance, the ensemble of intervals of a given intervallic identity is permutated according a method which follows an order based on the minimal distance, "d1", between each permutation, an order which generates a "permutahedron" which represents the combinatory potential of each intervallic identity. The exploration method of intervallic identities in the waveform allows to reach this at a molecular level within a continuum made of minimal transitions between permutations. This method constitutes a new model of continuous combinatory transformation of the waveform, a matter of interest in acoustics. An additional aspect of interest of the MUSIIC-Win's methodology is the link
it establishes between the melodic, the harmonic, the rhythmical and the timbre, universes whose structural connection is itself an interesting topic for music theory in general.