emanuel dimas de melo pimenta virtual music scores
In the end of the 1970s, Emanuel Pimenta elaborated a new method for music composition and notation inside virtual environments. Starting from the two-dimensional graphical scores, also known as planimetrics, Pimenta expanded to four-dimensional systems. He studied with the German composer Hans Joachim Koellreutter - pupil of Paul Hindemith, Marcel Moyse, Kurt Thomas and Hermann Scherchen - among others. Pimenta recorded about four hundred compositions in electronic, digital, acoustic and electroacoustic music. Beyond the concerts his music has been regularly used in movies, television, contemporary art installations, video art and dance in various countries. Several of his compositions can be listen in his online radio. Since 1986, after a personal invitation by John Cage, he has been commissioned composer for Merce Cunningham in New York City. Many people ask about listening to his music in this site - the problem is that Emanuel Pimenta works with a wide range of frequencies, and that compression systems like MP3 eliminate a good part of them. But you can listen to some of his pieces in some films in the link bellow. His concerts have been performed in some of the most important theatres and contemporary art museums all over the world with great recognition. His musical works, from large ensembles to electronics, from solo acoustic instruments to digital music, have been mainly performed in art museums, galleries and cultural centres as artworks. In general, each concert by Emanuel Pimenta is a complete work, from conceptual art to pure music, lectures and theoretical papers. In this site, you can see some of his virtual music scores, music scores as artworks, sites about some of his concerts, papers and books that are part of the concerts and on the subject. Emanuel Pimenta's first instrument is the transversal flute. Both on architecture and on music, Emanuel Pimenta works on the establishment of sensorial design - a term coined by him in the 1980s - and its implications in the plastic formation of synaptic patterns; it is what he calls logical traps.