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The work of Salvatore Sciarrino is established from the use of particular instrumental techniques coupled with new models of organizing and assembling the sound material. His compositions explore sonorities that, moving between the iconic and the abstract, have inaugurated new compositional paradigms. Parallel to his musical production, Sciarrino produced texts in which he exposes his reflections on musical craftsmanship. In this article we discuss the aesthetic and philosophical concepts proposed by the composer and, later, weapproach the work Come vengono prodotti gli inca incantesimi? Written for solo flute, this composition evidences how Sciarrino's conceptual tools give rise to a musical discourse of unprecedented expressiveness and originality. [ABSTRACT FROM AUTHOR]

In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-electronics is addressed concerning instrumental extended techniques, electroacoustic tape sounds, real-time processing, and their interaction. This is part of a broad research about the computer-aided musical analysis of electroacoustic music. The objective of the analysis of this piece is to understand the spectral activity of the emergent sound structures, in terms of which events produce huge timbre variations, and to identify timbre subtle nuances that are not perceptible on a first listen of the work. We conclude comparing the analyses results to the compositional hypotheses presented in the initial sections. [ABSTRACT FROM AUTHOR]

This article presents a brief history of extended techniques found within concert saxophone repertoire, from the beginning of the 20th century until today. The methodology utilized consisted of bibliographical and documented research. The first part discusses works, composers, and performers who directly influenced the growth of saxophone repertoire. The second part opens up a debate about extended techniques and the saxophone, focusing on educational publications that deal with extended techniques on the instrument. We've concluded that the systemization of teaching such techniques may have influenced composers and performers to utilize these idiomatic aspects of the instrument. [ABSTRACT FROM AUTHOR]

This research deals with some of the challenges presented to cellist's left hand technique by the Brazillian contemporary repertoire. For the analysis of the setech niques, pieces by Alexandre Ficagna, Ignácio de Campos, Silvio Ferraz, Tadeu Taffarello, Roberto Victorio, Rodrigo Cichelli e Rodrigo Lima were chosen. The goal of this study was the creation of specific exercises to address those difficulties. As a methodological procedure we studied fingerings and techniques proposed by Heinrich Schiff e Darrett Adkins and analyzed texts about cello technique by authors such as Tortelier, Cherniavsky, and Zukofsky with the goal of proposing exercises for cellists interested in left hand extended techniques. [ABSTRACT FROM AUTHOR]

In this article we present, in an informal way, a kind of guide that aims to create favorable conditions for the practice of collective free musical improvisation. This guide, based on the practical experience of Orquestra Errante, discusses various dynamics involved in such practice. When discussing important topics-such as listening, the format of interaction, instrumental technique, flow of performance over time, the analogy with Lachenmann's musique concréte instrumentale and the idea of sonority-we want to provide some subsidies for a well-founded formulation of this type of practice that in recent years has increasingly assumed significance in some environments dedicated to art and contemporary experimental music. [ABSTRACT FROM AUTHOR]