[{"content":"","date":"06.2025","externalUrl":null,"permalink":"/tags/cuaderno-de-an%C3%A1lisis/","section":"Tags","summary":"","title":"Cuaderno-De-Análisis","type":"tags"},{"content":" Notas de escucha Imaginar dos sonidos muy diferentes entre sí. Dos sonidos, tan lejanos como viscerales. Viscerales en extremo además en el contexto de una dictadura militar. Uno es una voz torturada. Ahogada, ahorcada. La escucho tan cerca que siento su garganta en mi oído. El otro es un sonido de cinta pegante siendo despegada. Cinta pegante siendo despegada muchas veces, en muchas direcciones. ¿Qué fue tapado con la cinta?, ¿bocas?. Construir una paleta sonora a partir de esos dos sonidos tan diferentes. Voces de muchos tipos: susurros, casi palabras, discursos cortados. Materiales de muchos tipos: metal, piedras, fuego. Materiales que perturban. Escuchar música es seguir un curso en el tiempo. Pero también es condensar ese tiempo. Como dice Silvio Ferraz (1997), incluso cuando escuchamos una melodía, donde creemos escuchar sonido tras sonido, estamos escuchando también cada sonido en relación a sus sonidos vecinos, es decir que \u0026#34;todos los momentos de escucha se condensan en un único instante\u0026#34;. Pensar entonces un gesto que materialice ese tiempo condensado. Un sonido seco, como una irrupción que permanece, que se hunde en la memoria. Usarlo una vez. Usarlo una vez y dejarlo por mucho tiempo, hasta que el oyente casi lo olvide. Justo ahí, usarlo de nuevo, creando una pequeño doblez en el tiempo, juntando esos 2 instantes en uno. Exponer la diferencia entre esos dos sonidos. Después, acercarlos. ¿Cómo? Los materiales siendo frotados, un sonido tenue pero discontinuo como en zigzag; Voces de susurros, que no dicen, pero articulan \u0026#34;sh\u0026#34;, \u0026#34;ch\u0026#34;, \u0026#34;tsh\u0026#34;, como si siguieran esa misma línea ondulante. El timbre se distancia. La envolvente dinámica los acerca. Gritos se oyen de muy lejos, casi inaudibles, como un silbido. Gritos que pueden ser de niños, quizás jugando. Los gritos se cortan fuertemente con un sonido seco, muy fuerte, muy cerca de mi oido. Me pregunto cómo se escuchan estas voces. Qué carga tienen esos timbres para quienes vivieron esa dictadura. ¿Resuena distinto en Montevideo? ¿Se escuchan esos sonidos como signos de algo que no se puede decir? ¿Se identifican gestos que, para mí, son solo textura? La escucha no es universal. La historia también se filtra por los oídos. Sobre el análisis completo Mi primer acercamiento a Coriún Aharonián no fue por su música, sino por sus palabras. Sus textos me interpelaron con una claridad ética poco común: hablaban del rol del compositor en América Latina, de las tensiones entre centro y periferia, de la tecnología como terreno de poder.\nAllí aparecían preguntas que también eran mías —sobre el papel de la cultura, la creación desde américa latina y formas de afrontar el colonialismo. Después vino la música. Escuché \u0026#34;Gran tiempo\u0026#34;, una de sus obras electroacústicas más conocidas, compuesta en 1974 en el estudio GMEB en Bourges, en plena dictadura militar uruguaya.\nY esa escucha fue, desde el primer momento, una experiencia visceral. En el minuto 10:37, una voz ahogada irrumpe en la textura. No grita: se asfixia. Aharonián tiene el poder de crear sonoridades poéticas, sugestivas.\nAsí nació este trabajo, que empezó como un análisis formal para un curso de maestría con Roman Pfeifer. Roman me enseñó que analizar y más aún música electrónica no es un proceso siempre igual, que uno sigue de una guía de teoría musical. Analizar es hacerle preguntas a la obra e intentar resolverlas. Por eso un análisis es personal, es una forma de compartir mi escucha de esa obra. En este post comparto un breve recorrido por esa escucha, una serie de notas sueltas —numeradas, como si fueran aforismos— que intentan capturar lo que esta obra me hizo oír, pensar, imaginar.\nComparto el link al análisis completo. ","date":"06.2025","externalUrl":null,"permalink":"/blog/analisis-aharonian/","section":"Blog","summary":"Notas de escucha Imaginar dos sonidos muy diferentes entre sí.","title":"Notas de escucha de \"Gran tiempo\" de Coriún Aharonián","type":"blog"},{"content":"","date":"04.2025","externalUrl":null,"permalink":"/en/works/","section":"","summary":"","title":"","type":"projects"},{"content":"","date":"04.2025","externalUrl":null,"permalink":"/obras/","section":"","summary":"","title":"","type":"projects"},{"content":"","date":"04.2025","externalUrl":null,"permalink":"/blog/","section":"Blog","summary":"","title":"Blog","type":"posts"},{"content":"","date":"04.2025","externalUrl":null,"permalink":"/en/","section":"Diana Margarita Ortiz","summary":"","title":"Diana Margarita Ortiz","type":"page"},{"content":" Unsolicited Clarifications Mysterious resonances, massive textures, fragile melodies. Walking through Comala: I align myself with the idea of “the Latin American” as a cultural and political choice, but I do not see it as a homogeneous culture. I am interested in exploring its contradictions and scraping away historical layers. I don’t believe in the division between high and low culture… dissolving those boundaries. “The others” as muses — not hiding influences. For some time now, I’ve been exploring the combination of acoustic instruments and electronic media, searching for textures capable of holding unstable, brittle, or unpredictable elements. Biography Diana Ortiz (1993, Bogotá) is a composer and orchestrator. A graduate of the National University of Colombia, she completed her master\u0026#39;s degree in composition at the Folkwang Universität der Künste (Essen, Germany), where she deepened her interest in the interaction between acoustic instruments and electronic media, with a particular focus on chamber music and collaborative work with performers.\nHer works have been performed by the National Symphony Orchestra of Colombia, the EAFIT Symphony Orchestra of Medellín, Sirène: Orchestre d’harmonie de Paris, the Atemporánea guitar quartet, among others. Between 2017 and 2020, she co-produced the Festival Mujeres en la Música Nueva. Ortiz maintains an ongoing reflection on identity, decolonial perspectives, and navigating the historical complexities of Latin America through sound.\nContact: dimom630@gmail.com\n","date":"04.2025","externalUrl":null,"permalink":"/en/info/","section":"Diana Margarita Ortiz","summary":"Unsolicited Clarifications Mysterious resonances, massive textures, fragile melodies.","title":"","type":"pages"},{"content":"","date":"10.2024","externalUrl":null,"permalink":"/en/categories/","section":"Categories","summary":"","title":"Categories","type":"categories"},{"content":"","date":"10.2024","externalUrl":null,"permalink":"/en/categories/chamber-and-electronics/","section":"Categories","summary":"","title":"Chamber and Electronics","type":"categories"},{"content":" Clarinet, Bassoon, Accordion, Double Bass, Percussion, and Electronics (2024) In Raspar un signo, the initial impulse was to work with cumbia samples as a starting point for exploring sonic textures. I’m drawn to this genre not only because of its timbral richness—where the accordion, güiro, and bass drum play a central role—but also because cumbia embodies a cultural fiction that reveals tensions in Latin American identity narratives. As noted by Juan Sebastián Ochoa y Carolina Santamaría, the term \u0026#34;cumbia\u0026#34; emerged in Colombia in the 1950s as part of a folklorist project that, while intending to spotlight music from the Caribbean—a previously marginalized region—ultimately simplified and homogenized a wide variety of musical expressions. Under this label, multiple rhythms and traditions were grouped together, erasing their differences to serve a functional notion of national identity.\nBeyond Colombia, the continental spread of cumbia has also given rise to powerful appropriations. In Monterrey, Mexico, for example, marginalized communities transformed Colombian records by playing them at slower speeds, giving birth to cumbia rebajada, a sonic phenomenon that became central to the cultural identity of the kolombias—young people from working-class neighborhoods who reimagined cumbia through their own mode of listening.\nMy intention was to approach this music through sampling, but I found I couldn\u0026#39;t integrate those materials coherently into my own language. I\u0026#39;m not interested in \u0026#34;stylizing\u0026#34; a living music or replicating melodies, so I prefer to distance myself from any idea of direct representation. Even so, certain ideas filtered into the piece: the friction between two bass drums, rhythmic elasticity, layering or homorhythm suggesting multiple tempos—all abstractly evoke gestures from cumbia rebajada. The güiro, in particular, became a central symbol in the piece: its oscillating, cutting character inspired several textures, both acoustic and electronic.\nThe electronics and certain harmonies are derived from spectral analysis of kick drum and low tom samples, from which I designed a multichannel synthesizer that produces spatialized resonances. Instrumentally, some textures explore imitation between voices to create emergent unisons, rather than independent lines.\nIn the final section, the piece centers around a large-scale homorhythm. Here, I wanted to explore two directions: on one hand, small grace notes that constantly shift the orchestration and displace the listener’s focus; on the other, rhythmic subdivisions that alter the perception of tempo, stretching and compressing it.\nPart of my first album Buscar en buscadores Photo by Enrique Villamarin Cover photo taken from the video of the soundcheck for the graduation recital \u0026#34;Buscar en buscadores\u0026#34; at the Folkwang Universität der Künste,captured by Marius Bajog, colored by Carlos Ortiz.\n","date":"10.2024","externalUrl":null,"permalink":"/en/works/raspar-un-signo/","section":"","summary":"Clarinet, Bassoon, Accordion, Double Bass, Percussion, and Electronics (2024) In Raspar un signo, the initial impulse was to work with cumbia samples as a starting point for exploring sonic textures.","title":"Raspar un signo","type":"works"},{"content":" Clarinete, Fagot, Acordeón, Contrabajo, Percusión y electrónica (2024) En Raspar un signo, el impulso inicial fue trabajar con samples de cumbia como punto de partida para explorar texturas sonoras. Me interesa este género no solo por su riqueza tímbrica —donde el acordeón, el güiro y el bombo tienen un lugar central— sino también porque la cumbia encarna una ficción cultural que revela tensiones en las narrativas identitarias latinoamericanas. Como señalan Juan Sebastián Ochoa y Carolina Santamaría, el término \u0026#34;cumbia\u0026#34; surgió en Colombia en los años 50 como parte de un proyecto folclorista que, aunque buscaba visibilizar la música del Caribe —una región hasta entonces marginada— terminó simplificando y homogeneizando una gran diversidad de expresiones musicales. Bajo esta etiqueta se agruparon múltiples ritmos y tradiciones, borrando sus diferencias para hacerlas funcionales a una idea de identidad nacional.\nMás allá de Colombia, la expansión continental de la cumbia también da lugar a apropiaciones muy potentes. En Monterrey, México, por ejemplo, comunidades vulnerables transformaron discos colombianos al reproducirlos a menor velocidad, dando origen a la cumbia rebajada, un fenómeno sonoro que se volvió central en la identidad cultural de los kolombias —jóvenes de sectores populares que reconfiguraron la cumbia desde su propia escucha.\nMi idea era aproximarme a esta música desde el sample, pero sentí que no lograba integrar esos materiales de forma coherente a mi lenguaje. No me interesa “estilizar” una música viva ni replicar melodías, por lo que prefiero tomar distancia de toda idea de representación directa. Aun así, ciertas ideas se filtraron en la obra: la fricción entre dos bombos, la elasticidad rítmica, la superposición o el homorritmo que sugiere velocidades múltiples, evocan de forma abstracta algunos gestos de la cumbia rebajada. El güiro, además, se convirtió en un símbolo central en la pieza: su carácter oscilante y cortante inspiró varias texturas, tanto acústicas como electrónicas.\nLa electrónica y ciertas armonías derivan del análisis espectral de samples de bombo y low tom, a partir de los cuales diseñé un sintetizador multicanal que produce resonancias espacializadas. A nivel instrumental, algunas texturas exploran la imitación entre voces para generar unísonos emergentes, más que líneas independientes.\nEn la sección final, la pieza se organiza en torno a un gran homorritmo. Me interesaba allí explorar dos direcciones: por un lado, pequeñas apoyaturas que varían constantemente la orquestación, desplazando el foco; por otro, subdivisiones rítmicas que alteran la percepción del tempo, expandiéndolo y contrayéndolo.\nParte del mi primer disco Buscar en buscadores Foto por Enrique Villamarin Foto de portada extraída del video de la prueba de sonido del recitalde grado \u0026#34;Buscar en buscadores\u0026#34; en la Folkwang Universität der Künste, captada por Marius Bajog, corrección de color por Carlos Ortiz.\n","date":"10.2024","externalUrl":null,"permalink":"/obras/raspar-un-signo/","section":"","summary":"Clarinete, Fagot, Acordeón, Contrabajo, Percusión y electrónica (2024) En Raspar un signo, el impulso inicial fue trabajar con samples de cumbia como punto de partida para explorar texturas sonoras.","title":"Raspar un signo","type":"obras"},{"content":" Toy piano, bass recorder, and electronics (2024) Commissioned by the Klangzeit 2024 festival and Zonta Münster, for Jennifer Hymer and Gudula Rosa.\nIn this piece, I was interested in working with two characteristics of the toy piano that are often seen as limitations: its restricted dynamic range and the prominence of mechanical noise, as well as the tendency for overtones to overshadow fundamental pitches. I decided to make these traits central to the sonic language. For the electronics, I designed a sampler in .SFZ format triggered by MIDI keyboard, which expands these sounds using recordings of the mechanism and processed resonances, applying convolution techniques with drums to emphasize its percussive quality.\nThe bass recorder employs techniques with defined attacks or a percussive nature, moving away from its traditional melodic role to become a textural source in dialogue with the toy piano and electronics. Rhythmically, I explored transitions between irregular subdivisions, inspired by Afro-Colombian musics where binary and ternary patterns coexist and fluidly transform. I was drawn to the “in-between” spaces of rhythmic figures, as well as the tension between precise synchronicity and sonic “mass.” Within these dense textures, faint melodic fragments emerge—almost drowned out—as subtle interruptions.\nAn image from César Aira’s God’s Tea beautifully represents this idea: a subatomic particle bursts into a chaotic tea party organized by God, with monkeys as guests. The piece incorporates such minimal disruptions that contrast with their environment—like a long whistle over short attacks, or fragile toy piano phrases interwoven with rhythmic layers.\nLive performance, premiere at the Female ID concert of the Klangzeit 2024 festival Photo by Enrique Villamarin Thanks to the Klangzeit festival and Zonta Münster for making this collaboration possible. To Jennifer and Gudula for their dedication in performance, and to Emi See and Ron Busch for their interpretation on the album “Buscar en buscadores”.\nCover photo taken from the video of the soundcheck for the graduation recital \u0026#34;Buscar en buscadores\u0026#34; at the Folkwang Universität der Künste,captured by Marius Bajog, colored by Carlos Ortiz.\n","date":"10.2024","externalUrl":null,"permalink":"/en/works/toctoctoc/","section":"","summary":"Toy piano, bass recorder, and electronics (2024) Commissioned by the Klangzeit 2024 festival and Zonta Münster, for Jennifer Hymer and Gudula Rosa.","title":"ToctOctoC","type":"works"},{"content":" [Inner crowds] Viola and electronics (2024) Commissioned by Jing Chen.\nInternas Multitudes revisits my interest in identity as an unstable and contradictory phenomenon, inhabited by “internal multitudes” that coexist, clash, and transform. The piece was created in close collaboration with violist Jing Chen, who expressed a desire to explore connections between the instrument and the voice. This does not result in a literal use of the voice, but rather its evocation: a ghostly presence that emerges from the interplay between formant filters and instrumental gestures.\nHere, the viola serves as both a source of noise and resonance for two live electronic processing systems. The first consists of a bank of 15 resonant filters tuned to pitches derived from unstable harmonic nodes. These harmonics, rich in tonal variation, interact unpredictably with the filters, generating a constantly shifting sonic field.\nThe second system is composed of filters that emulate human vocal formants, spatially distributed to invoke “entities” that surround the viola—sometimes as echo, sometimes as distortion or counterpoint. The instrumental gestures were designed to activate these filters expressively, and include a preparation using a cork sheet between the C and G strings, intensifying the noisiness of the sound and making the filters more responsive.\nBeyond timbre, I also wanted to work with the rhythm and intonation of spoken voice. To that end, I proposed a guided improvisation based on the transcription of accents and inflections from recordings of the poem “I Regret Nothing” by Gioconda Belli.\nPart of my first album Buscar en buscadores and the album Transducciones by Juan Carlos Higuita Photo by Enrique Villamarin Thanks to Jing Chen for her generous exploration and sharing. Also to Juan Carlos Higuita for his dedicated and sensitive performance.\n","date":"07.2024","externalUrl":null,"permalink":"/en/works/internas-multitudes/","section":"","summary":"[Inner crowds] Viola and electronics (2024) Commissioned by Jing Chen.","title":"Internas Multitudes","type":"works"},{"content":" Viola y electrónica (2024) Comisionada por Jing Chen.\nInternas multitudes retoma mi interés por la identidad como un fenómeno inestable y contradictorio, habitado por “multitudes internas” que coexisten, se enfrentan y se transforman. La obra fue creada en estrecha colaboración con la intérprete Jing Chen, quien expresó su deseo de explorar vínculos entre el instrumento y lo vocal. Esto no se traduce en el uso literal de la voz, sino en su evocación: una presencia fantasmal que emerge del cruce entre filtros formantes y gestos instrumentales.\nLa viola actúa aquí como fuente de ruido y resonancia para dos sistemas de procesamiento electrónico en vivo. El primero consiste en un banco de 15 filtros resonantes afinados a alturas derivadas de nodos armónicos inestables. Estos armónicos, ricos en variaciones tonales, interactúan de forma impredecible con los filtros, generando un campo sonoro siempre cambiante.\nEl segundo sistema está conformado por filtros que emulan formantes vocales humanos. y están configurados para distribuirse espacialmente, procurando invocar \u0026#34;entidades\u0026#34; que rodean la viola, a veces como eco, a veces como distorsión o contrapunto. Los gestos instrumentales fueron diseñados para activar estos filtros de manera expresiva, e incluyen una preparación con una lámina de corcho entre las cuerdas C y G, que intensifica el carácter ruidoso del sonido, que hace que los filtros respondan mejor.\nAdemás del timbre, quise trabajar con el ritmo y la entonación de la voz hablada. Para ello propuse una improvisación guiada, basada en la transcripción de acentos e inflexiones de grabaciones del poema \u0026#34;No me arrepiento de nada\u0026#34; de Gioconda Belli.\nParte del mi primer disco Buscar en buscadores y del álbum Transducciones de Juan Carlos Higuita Foto por Enrique Villamarin Agradezco a Jing Chen por la generosa exploración y compartir. También a Juan Carlos Higuita por su interpretación dedicada y sensible.\n","date":"07.2024","externalUrl":null,"permalink":"/obras/internas-multitudes/","section":"","summary":"Viola y electrónica (2024) Comisionada por Jing Chen.","title":"Internas Multitudes","type":"obras"},{"content":"","date":"07.2024","externalUrl":null,"permalink":"/en/categories/solo-and-electronics/","section":"Categories","summary":"","title":"Solo and Electronics","type":"categories"},{"content":" Song (2023) Nos cavan como minas, grietas habremos de encontrar\nLyrics, music, arrangement: Diana Ortiz\nVocals: Leidy Katherine Montilla\nGuitar and Bass: Eduardo Pinto Lara de Carvalho\nPercussion: Andrés Buitrago Lamy\nTrumpet: Jeisson Mora\nAlto Saxophone: Mario Pachón\nTrombone: Juan Diego Pachón\nKeyboards: Diana Ortiz\nMixing: Nicolás Torres\n","date":"12.2023","externalUrl":null,"permalink":"/en/works/mas-tercos/","section":"","summary":"Song (2023) Nos cavan como minas, grietas habremos de encontrar","title":"Más tercos","type":"works"},{"content":"","date":"12.2023","externalUrl":null,"permalink":"/en/categories/song/","section":"Categories","summary":"","title":"Song","type":"categories"},{"content":" [ Many Selves] Flute and electronics (2023) Commissioned by ul-música mixta.\nTantos yos was born from ongoing questions I have about identity. Listening to the music and ideas of artists I admire, like Eblis Álvarez and Canela Palacios, I was struck by two approaches in particular: the alter egos Eblis uses to free himself from himself when writing lyrics, and the “broad sound” of La permanencia by Canela, whose opening —almost a scream— is built from a single gesture: the same finger position extended across a group of Tarkas from different families and sizes, where richness arises precisely from internal differences.\nFrom there, I wanted to explore what I call “the components of an element,” especially through the use of pitch shifters and subtractive synthesis. The piece is based on a very limited harmonic material, focused almost exclusively on the note F and its harmonics. This restriction acts not as a limitation but as an invitation to listen to the minimal: microtunings, timbral variations, breathing, subtle gestures that, when exposed, reveal unexpected layers.\nThe electronics do not accompany; they amplify, prolong, multiply. Pitch shifters, a simple synthesizer, a harmonic ring modulator, and audio files derived from flute recordings function as reflections or doublings. I was interested in creating an “expanded unison,” where small pitch deviations generate a vibrating field in constant motion —as if multiple versions of the same performer were playing at once, never fully aligned.\nThroughout the piece, this idea of sonic unity manifests as a moving block or, by contrast, is “dissected” to expose its most fragile parts.\nPart of my first album Buscar en buscadores and the album Los aires, los espacios, los ruidos by UL música mixta Photo by Enrique Villamarin This piece was also part of the concert series Filum Konzerte, organized by Leon Focker.\nThanks to the UL ensemble (Laura Cubides and Daniel Leguizamón) for the conversations and reflections shared during the creative process. To Hannah Wolf and Natalia Molina, performers and friends, for their generous help in creating the sound files. And to Evelin Deger, for her sensitive performance and the recording of this piece on the album Buscar en buscadores.\n","date":"07.2023","externalUrl":null,"permalink":"/en/works/tantos-yos/","section":"","summary":"[ Many Selves] Flute and electronics (2023) Commissioned by ul-música mixta.","title":"Tantos yos","type":"works"},{"content":" [Pulling Down Statues] Snare drum, triangle, and electronics (2023) Commissioned by Jhoan Sebastián Infante.\nTumbar estatuas was born from the political and poetic impact I felt after the toppling of statues of the conquistador Sebastián de Belalcázar by the Misak Indigenous community in Colombia, following the social uprising of 2020. It also stems from an interest in exploring rhythmic tools and relationships between spoken and instrumental discourse as ways of intervening in established narratives.\nBeyond its political dimension, the piece is also an exploration of rhythmic material as a means of moving between the documentary and the musical. The snare drum, with its reconfigured traditional rudiments, serves as a starting point for investigating accents, patterns, and shifts between the spoken voice and the instrument.\nThrough the dialogue between snare drum and electronics, the work exposes and saturates fragments of journalistic and political speeches, revealing rhetorical mechanisms that tend to simplify or distort the complexity of certain events. Words like “vandal” are repeated, stretched, and fragmented until they lose their semantic charge and become rhythm, texture, insistence.\nI aimed not to offer a one-sided reading. I wanted Tumbar estatuas to invite active, questioning listening. Rather than respond with an explicit counter-discourse, I propose tensions between language and sound, from dominant narrative to abstraction.\nPart of my first album Buscar en buscadores Photo by Enrique Villamarin This work was also part of the concert series alles Klart, organized by Roberto Besseler and the K!ART ensemble.\nDeep thanks to the performers I collaborated with during the creation of this piece: Jhoan Infante and Wan-man Yen. Also to Chun-An Chuang for the performance recorded on the album Buscar en buscadores.\n/Cover photo taken from the video of the soundcheck for the graduation recital \u0026#34;Buscar en buscadores\u0026#34; at the Folkwang Universität der Künste,captured by Marius Bajog, colored by Carlos Ortiz.\n","date":"01.2023","externalUrl":null,"permalink":"/en/works/tumbar-estatuas/","section":"","summary":"[Pulling Down Statues] Snare drum, triangle, and electronics (2023) Commissioned by Jhoan Sebastián Infante.","title":"Tumbar estatuas","type":"works"},{"content":" Redoblante, triángulo y electrónica (2023) Comisionada por Jhoan Sebastián Infante.\nTumbar estatuas nace del impacto político y poético que me produjo el derribamiento de estatuas del conquistador Sebastián de Belalcázar por parte de la comunidad indígena Misak en Colombia, tras el estallido social de 2020, y de un interés por explorar herramientas rítmicas y relaciones entre el discurso hablado e instrumental como formas de intervenir discursos establecidos.\nMás allá de su dimensión política, la pieza es también una exploración de la materia rítmica como vía para transitar entre lo documental y lo musical. El redoblante, con sus rudimentos tradicionales reconfigurados, sirve como punto de partida para investigar acentos, patrones y desplazamientos entre la voz hablada y el instrumento.\nA través del diálogo entre redoblante y electrónica, la obra expone y satura fragmentos de discursos periodísticos y políticos, revelando mecanismos retóricos que tienden a simplificar o distorsionar la complejidad de ciertos eventos. Palabras como “vándalo” se repiten, estiran y fragmentan hasta perder su carga semántica y volverse ritmo, textura, insistencia.\nProcuré no ofrecer una lectura unilateral. Quise que \u0026#34;Tumbar estatuas\u0026#34; propiciara una escucha activa, cuestionadora. En lugar de responder con un contra-discurso explícito, propongo tensiones entre lenguaje y sonido, del relato dominante a la abstracción.\nParte del mi primer disco Buscar en buscadores Foto por Enrique Villamarin Esta obra también fue parte de la serie de conciertos alles Klart, organizado por el Roberto Besseler y K!ART ensamble. Agradezco profundamente a los intérpretes con quienes colaboré durante la creación de esta obra: Jhoan Infante y Wan-man Yen. Gracias también a Chun-An Chuang por su interpretación en la grabación del disco Buscar en buscadores.\nFoto de portada extraída del video de la prueba de sonido del recitalde grado \u0026#34;Buscar en buscadores\u0026#34; en la Folkwang Universität der Künste, captada por Marius Bajog, corrección de color por Carlos Ortiz.\n","date":"01.2023","externalUrl":null,"permalink":"/obras/tumbar-estatuas/","section":"","summary":"Redoblante, triángulo y electrónica (2023) Comisionada por Jhoan Sebastián Infante.","title":"Tumbar estatuas","type":"obras"},{"content":" [About Reflections, Refractions and Renounces] Wind Orchestra (2020) Composed for the \u0026#34;Reflets de femmes\u0026#34; competition, organized by La Sirène de Paris.\nThe thematic axis proposed for the call was the mirror — an element I chose to adopt as the poetic and musical structure of the piece.\nAfter some thoughts on the poetics I wanted to explore, the title De reflejos, refracciones y renuncias emerged. I envisioned the mirror as a symbol of confrontation with oneself, with our vanities and, in particular for women, as a social burden imposed from childhood.\nI became interested in the idea of the reflection, and how, often, the encounter with the mirror is not as intimate as it seems. Frequently, we see ourselves through the eyes of others: external gazes materialize in our own. In that sense, I connected this to the concept of refraction, with light as the intermediary between the object and its reflection — meaning the reflection is never identical to the object, and that distortion opens a space for renunciation.\nThe piece is divided into two main sections:\nNo sé si con mis ojos veo mi reflejo II. Las renuncias\nIn the first section, I worked with small palindromic motifs that dissolve and deform through subtle variations, alongside rhythmic “intrusions” that aim to generate “reflected” chords. The second section, Las renuncias, unfolds as a lament — almost a cry — that revisits and transforms the textures presented earlier.\n","date":"04.2022","externalUrl":null,"permalink":"/en/works/de-reflejos-refracciones-y-renuncias/","section":"","summary":"[About Reflections, Refractions and Renounces] Wind Orchestra (2020) Composed for the \u0026#34;Reflets de femmes\u0026#34; competition, organized by La Sirène de Paris.","title":"De reflejos, refracciones y renuncias","type":"works"},{"content":"","date":"04.2022","externalUrl":null,"permalink":"/en/categories/wind-orchestra/","section":"Categories","summary":"","title":"Wind Orchestra","type":"categories"},{"content":" Voice and electronics (2021) Commissioned by Natalia Merlano.\nIn this piece, I tried to build a text through wordplay and detours around questions that arise for me about the concepts of identity as resistance, identity in relation to territory, and the sense of perplexity that comes from identifying with \u0026#34;the other\u0026#34; — an other who may be distant.\nThese questions have accompanied me as a creator and lead me to decolonial thinking, because I feel there is a kind of cultural wound present in Latin America — especially for those of us living in cities. Lacking a clear traceability of identity traditions, we often live in a kind of permanent exile. However, thanks to \u0026#34;new urban identities\u0026#34; or modern cultural processes I see on the continent, I have come to understand identity as something living, in constant transformation — something that can be constructed “sideways.”\nIn the music, I used recordings created in collaboration with Natalia as raw material for the fixed-media electronics, combined with live looping and some guided improvisation techniques, in an attempt to explore various timbral possibilities of the voice as an instrument.\nPart of the album Resonancias Entralazadas by Natalia Merlano, winner of Colombia’s 2021 Ministry of Culture Recording Production Grant. ","date":"12.2021","externalUrl":null,"permalink":"/en/works/pavana-lanzada-a-la-brisa/","section":"","summary":"Voice and electronics (2021) Commissioned by Natalia Merlano.","title":"Pavana lanzada a la brisa","type":"works"},{"content":" [Between the cracks] Double bass, marimba, and electronics (2021) Commissioned by Diego Matallana and Guillermo Ospina. Inspired by the photo series Arena, sol y viento by Lina Bastidas.\nWhen I was commissioned to write this piece, the performers proposed that I draw abstract inspiration from the photo series Arena, sol y viento, taken by Lina Bastidas in La Guajira, northern Colombia. This region, inhabited by the Indigenous Wayuu community, has been severely affected by socio-environmental conflicts stemming from coal extraction by multinational corporations—leading to forced displacements and the diversion of vital water sources.\nThe piece arises from a reflection on the tensions between urban and rural spaces, between models of progress and other ways of inhabiting the world. I was interested in approaching the challenges faced by this community and aspects of its sonic universe—not through direct representation, but through a more abstract lens. Some timbres, in both the electronics and the instrumentation, are freely inspired by traditional Wayuu instruments. The structure of Entre las grietas alternates between sections of free tempo and near-vocal character, resembling a lament, and others with more marked rhythms and layered textures.\nIn the instrumental writing, I aimed to explore the expressive range of the double bass through register contrasts and extended sound production techniques. For both performers, I created space for interpretive freedom, inviting them to interact with each electronic track using small boxes of objects and materials.\nTambién fue parte del proyecto Bogotá perspectivas sonoras. ","date":"04.2021","externalUrl":null,"permalink":"/en/works/entre-las-grietas/","section":"","summary":"[Between the cracks] Double bass, marimba, and electronics (2021) Commissioned by Diego Matallana and Guillermo Ospina.","title":"Entre las grietas","type":"works"},{"content":"","date":"06.2019","externalUrl":null,"permalink":"/en/categories/chamber/","section":"Categories","summary":"","title":"Chamber","type":"categories"},{"content":" [Mirrors as walls] Guitar quartet (2019) Commissioned by the FMMN 2019 for the Atemporánea Guitar Quartet\ni. Sometimes it’s hard to listen The piece is composed of three short movements, inspired by Luigi Nono’s text The Error as Necessity, which discusses the inherent violence in the way we typically listen—a kind of listening that often involves hearing ourselves in the discourse of others, rather than truly opening up to different ideas. Espejos como muros is therefore an invitation to listen to other voices and to step outside our own mental structures and rationalisms when relating to others.\nii. Silence \u0026#34;Silence.\nIt is very difficult to hear it.\nIt is very difficult to hear, in the silence, others. Other thoughts, other noises, other sonorities, other ideas. Through listening, we usually try to find ourselves in others. We want to find our own mechanisms, our own system, our own rationality, in the other.\nThere is in this a wholly conservative violence.\u0026#34;\nExcerpt from The Error as Necessity by Luigi Nono.\niii. Other Voices Part of the album Cantos de las Amazonas by Atemporánea. ","date":"06.2019","externalUrl":null,"permalink":"/en/works/espejos-como-muros/","section":"","summary":"[Mirrors as walls] Guitar quartet (2019) Commissioned by the FMMN 2019 for the Atemporánea Guitar Quartet","title":"Espejos como muros","type":"works"},{"content":" [The open window] Symphony Orchestra (2017) World premiere by the Colombian National Symphony Orchestra.\nIn this piece, I wanted to explore different textures and orchestral color possibilities, playing with the idea of one instrument\u0026#39;s attack and another\u0026#39;s resonance. The material is primarily derived from a scale constructed using harmonics 7 through 16 of the harmonic series.\nThe work combines sections of regular meter with passages in a freer notational style, aiming to create varied textures and atmospheres. The focus is on attack and resonance, while also considering the spatial distribution of the orchestra as a key element in orchestration.\nLa Ventana Abierta is conceived as an invitation to listen in the same way one looks through an open window—freely, with each person focusing on what catches their attention.\nIn March 2017, the piece was selected for performance by the Colombian National Symphony Orchestra as part of their Platform 28 call for young composers, under the guidance and direction of Chilean conductor José Luis Domínguez. That same year, it was selected by the EAFIT Symphony Orchestra to be performed and recorded as part of the \u0026#34;New Colombian Symphonic Music\u0026#34; series.\nPart of the album La nueva música sinfónica colombiana vol. VII. ","date":"03.2017","externalUrl":null,"permalink":"/en/works/la-ventana-abierta/","section":"","summary":"[The open window] Symphony Orchestra (2017) World premiere by the Colombian National Symphony Orchestra.","title":"La Ventana Abierta","type":"works"},{"content":"","date":"03.2017","externalUrl":null,"permalink":"/en/categories/orchestra/","section":"Categories","summary":"","title":"Orchestra","type":"categories"},{"content":" \u0026ldquo;Education not as the transmission of knowledge, but as integration into research.\u0026rdquo; Excerpt from: Duprat, R. (1963). Música Nova – Manifesto. Invenção: Revista de Arte de Vanguarda.\nLessons I offer personalized lessons in:\nComposition Piano Music theory and analysis Electronic music These can be regular classes or short-term consultations.\nAvailable formats In-person Online Individual and group sessions Contact More information: dimom630@gmail.com\n","externalUrl":null,"permalink":"/en/teaching/","section":"Diana Margarita Ortiz","summary":"\u0026ldquo;Education not as the transmission of knowledge, but as integration into research.","title":"","type":"pages"},{"content":" \u0026ldquo;La educación no como transmisión de conocimientos, sino como integración a la investigación.\u0026rdquo; Extracto de: Duprat, R.(1963). Música Nova-Manifesto. Invenção: Revista de Arte de Vanguarda.\nClases Doy clases personalizadas de:\nComposición Piano Teoría y análisis musical Música electrónica Pueden ser clases regulares o asesorías breves.\nModalidades disponibles Presenciales Virtuales Individuales y grupales Contacto Para más información escríbeme a dimom630@gmail.com\n","externalUrl":null,"permalink":"/clases/","section":"Diana Margarita Ortiz","summary":"\u0026ldquo;La educación no como transmisión de conocimientos, sino como integración a la investigación.","title":"","type":"pages"},{"content":"","externalUrl":null,"permalink":"/en/authors/","section":"Authors","summary":"","title":"Authors","type":"authors"},{"content":"","externalUrl":null,"permalink":"/en/series/","section":"Series","summary":"","title":"Series","type":"series"},{"content":"","externalUrl":null,"permalink":"/en/tags/","section":"Tags","summary":"","title":"Tags","type":"tags"}]