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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: (+351) 234 370 389 (ext. 23700)

Biography

I studied the shakuhachi in Japan under Kaoru Kakizakai getting my shakuhachi master’s degree, shakuhachi shihan, there in 2004. Later completed a bachelor’s degree in ethnomusicology in Barcelona, Spain. On January 2022 I submitted my thesis for a European doctorate in ethnomusicology with the title “Aesthetics of sound in Japanese hōgaku. Ethnomusicology and Artistic Research in dialogue.” The output of the research process included a manuscript, a thirty minutes audio-visual documentary on the transdisciplinary artistic creation process and the performative piece created through that same process. As a performer I work on Japanese classical/traditional music, free improvised music, transdisciplinary creation (especially with dance) and western classical contemporary music. As a researcher I work on issues related to aesthetics of sound in different forms of japanese music, artistic creation (with focus on the transdisciplinary and outside specific music traditions) and the use of audio-visual in research as a tool to create and communicate knowledge. I have recorded 2 solo albums as well as several other collaborations and is acting as soloist for the Spanish National Orchestra for the premier of Desert, concert for shakuhachi and orchestra in June 2019. On 2017 I have curated the yearlong exhibition ‘Eolssigu! The Sounds of Korea’ for the Barcelona Music Museum, edited a book with the same title with authors such as Dr. Keith Howard and Dr. Simon Mills among others and created all the audio-visual materials with Ariadna Pujol. Currently I am associate professor at the musicology department at the Catalonia College of Music (Escola Superior de Música de Catalunya), and coordinator of their Asian Music Program.

Summary reel of my artistic projects: https://youtu.be/5cGqx81CQHU

Website in English and Spanish: http://www.shakuhachi.es/en/homepage.html

 
CV | ORCID 
 
 
 
Doctoral Project
 
Title
Aesthetics of sound in Japanese hôgaku. Ethnomusicology and Artistic Research in dialogue
 
zz-teseHoracio1
 
Supervisor
 
Abstract

Conscious of the multiplicity of ways in which sound could be understood, this thesis focuses on how sound is created and appreciated within Japanese hōgaku music. For this, a list of potentially relevant concepts that would allow access to the aesthetic dimension of hōgaku was compiled from knowledge acquired throughout the process of my training as a shakuhachi player in Japan, from preliminary research and from the literature. Their validity was later tested through ethnomusicological fieldwork, mainly in the form of interviews with practitioners of different Japanese artforms. An understanding of this aesthetic dimension, and its potential to create interlocution in creation processes, was later addressed through an artistic research process. The creation process used, as a starting point, a selection of some of the most relevant concepts chosen through the fieldwork. In order to enrich the number of points of view involved in this research and at the same time to free it from the constrains of specific musical forms, the creation process was of a transdisciplinary and recontextualised nature, including music, dance and the audio-visual.

Ultimately, this thesis aims to deepen the understanding of the aesthetic dimension of hōgaku. The way in which artistic research can be used for better understanding the processes of artistic creation is presented in Chapter 3 through the audio-visual documentary ‘Painting in the void’, including the synergies that could be found in the dialogue between ethnomusicology and artistic research. This audio-visual documentary is part of an exploration of decolonizing methodologies within academic disciplines, through its research on non-verbal approaches for knowledge production and communication and the work with shared research practices.

These non-verbal approaches are articulated in the interviews as well as in the way in which the audio-visual media is used as a tool for knowledge communication within academic study, building on what has been done in past decades within the disciplines of ethnomusicology and anthropology.

This thesis should be understood as the sum of three elements of equivalent importance: this text, the performative piece, ‘Kūkaku’, and the audio-visual documentary, ‘Painting in the void’. The three elements constitute a unity and the narration would be incomplete without all of them.