El Libro Centro Mexicano para la Música y las Artes Sonoras: Lustro 01 (2006-2011), es una memoria gráfica y documental del desarrollo, actividades, proyectos y logros en los primeros 5 años de existencia del Centro.

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CD Lustro 01_2006-2011, representative and comissioned pieces by CMMAS in its first five years of existence.

In its first five years the Mexican Centre for Music and Sonic Arts (CMMAS) has been able to establish a program that fosters composition of new music with technology which is unique in Latin America. The Center´s staff has created Works as part of their personal composition and experimentation projects and pieces have been commissioned to composers both Mexican and foreign. All pieces have been premiered and are performed regularly in various venues. The “Lustro 01” CD is the ideal opportunity to celebrate the work done by CMMAS in this period and to show some of the pieces result of this work.

CMMAS aims to explore new ways to foster and promote creativity, however this process can´t be complete without the experience of listening the results. Such experience is possible with this CD where the listener can experience the ways in which artists from Mexico, Greece, England and Argentina.

Enjoy this CD!
Dr. Rodrigo Sigal
Director
CMMAS

Track 1: Instant of crystal glass. Theodoros Lotis.

The piece is an imaginary abstract soundscape of a crystal glass. The sounds that have been used for the composition derive from hits on the surface of a crystal glass and co-exist with some recordings of a saxophone, a piano and a breath. Thanks to Andreas for the saxophone recordings, to Maria for the piano, to Olga for the breath and to Victoria for the glass. Instant of a crystal glass has been commissioned by the Visiones Sonoras 2007 Festival in Mexico.

Theodore Lotis

Theodore Lotis studied the guitar, flute, music analysis and composition in Greece, Belgium and the UK. His music has been performed at festivals and conferences in Europe, Australia, America and Asia, and has received a number of awards and distinctions at Bourges (France, 2000), Sculpted Sound Composers Competition (UK, 2000), Metamorphoses (Belgium, 2000, 02), Luigi Russolo (Italy, 2000, 02), CIMESP (Brasil, 2001) and and Jeu de temps / Times Play (UK/Canada, 2002).
He was awarded the first prize at the Concours International de Spatialisation pour l’Interprétation des Ouevres Acousmatiques, Espace du Son 2002 by Musiques et Recherches, in Brussels, sponsored by the Fonds Européen des Sociétés d’Auteurs pour la Musique. He has done commissioned work for Musiques et Recherches (Belgium, 1997 and 2000), Sculpted Sound Composers Competition (UK, 2000), Amici della Musica di Cagliari (Italy, 2001), the festival Visiones Sonoras (Mexico, 2007) and clarinetist Esther Lamneck (USA, 2009). Having produced several instrumental works and collaborated with artists from various disciplines (dance, theatre, video) his current endeavours in music are focused on spectrum, timbre, sonic space and light.
He has completed a Ph.D. in Music at the City University, London, thanks to grants from the British Academy (Arts and Humanities Research Board), and the Foundation A.S. Onassis. Theodore Lotis has been teaching electronic composition at Goldsmiths College, University of London (2001-2003), the Technological and Educational Institute of Crete (2003-2004) and the Aristotle University of Thessaloniki (2004-2005), Greece.
He is Assistant Professor at the Ionian University of Corfu, Greece. He is founding member of the Hellenic Electroacoustic Music Composers Association (HELMCA) and the Hellenic Society for Acoustic Ecology. His music has been released by Empreintes Digitales.
www.electrocd.com / www.theodorelotis.com

Track 2: Mudra. Rodrigo Sigal

Rodrigo Sigal’s words concerning his piece Mudra:

A gesture or mudra can exist in multiple forms and levels. In music it is common to relate the physical gestures of the performers with the resulting sound. However, a gesture could be less literal and be only an intention for example. Mudras can be doors to different realities and in this work the instrument are there to generate a reality with help from the electroacoustic means. Mudra was composed at my personal studio in Santiago de Chile in 2004. Special thanks to Michael Bounce for allowing me to use some source sounds.

One of Mudra’s main qualities is the refined balance achieved by the composer between the trio’s instruments and the electronic sounds. This is a work in which the creation, modification and expansion of moods and textures is more relevant than the traditional statement and development of motifs and materials. As is the case in other electroacoustic works by Sigal, the electronic track moves organically between concrete sonic references and various degrees of abstraction. Similarly, the instrumental parts contain passages that are clearly referential, pointing to a postmodern aesthetic concept.

Rodrigo Sigal dedicated Mudra to Trio Neos, the ensemble responsible for the work’s commission. He also wants to dedicate the piece to fellow composer Eugenio Toussaint (1954-2011).

Rodrigo Sigal (b. 1971) graduated from the CIEM in Mexico City, having studied with María Antonieta Lozano and Alejandro Velasco. He later studied at Mario Lavista’s composition workshop. He was also a student of Denis Smalley, Javier Álvarez, Franco Donatoni, Judith Weir, Michael Jarrell and Juan Trigos. He completed his Ph.D. at London’s City University. He was the founder of a sound studio in which he performed different tasks in composition, production and recording, working particularly on music for film, video, theater, dance, radio and television. He coordinated the computer center at CIEM and was also a teacher at the school, specializing in the interface between music and new technologies. He has received grants and scholarships from Mexico’s FONCA and Las Rosas Conservatoire, as well as from the Banff Center for the Arts in Canada and cultural institutions in Italy and Spain towards the advancement of his creative and promotional projects. Lately, Rodrigo Sigal has concentrated on various aspects of electroacoustic music, interdisciplinary projects and multimedia interfaces. He is founder and director of CMMAS (Mexican Center for Music and Sonic arts) as well as the Sonic Visions Festival, dedicated primarily to electroacoustic music.

Performer: Trio Neos

Since being founded in 1986, Trio Neos has diligently explored the existing traditional repertoire, at the same time generating a new Latin American repertoire by working closely with the composers. The group has participated in Mexico’s most important music festivals and has been featured in internationally broadcast television programs. In 1989 Trio Neos was awarded a grant by Mexico’s National Fund for Culture and the Arts, and the following year made a tour of Latin America and the United States.

To date, the group has recorder five CD’s: one with Works by Mexican composers, one with Latin American pieces, one with music by women composers of the Americas, one dedicated to classical compositions, and one with music by Mexican and American composers. Most of the Works recorded have been dedicated to Trio Neos. In 1993 Trio Neos obtained a grant from the Mexico/USA Fund for Culture, to create new repertoire by North American composers. In 1994 they made a tour of the United States and in 1996 they went to Russia, playing this new music alongside their repertoire of contemporary Mexican Music. In 1997 Trio Neos got another grant from the Mexico/USA Fund for Culture, for their project “New Music by Women Composers of the Americas”, playing the works’ premieres at New York’s Carnegie Hall. In 2004, the group received another grant from the Fund to continue their project of commissions and dissemination of new music from the Americas. 

Track 3: Envulsiones Ambiónicas. Carlos López Charles.

The title of this piece is integrated by two words coming from the Giglic language, which was invented by Julio Cortazar in his book ¨Rayuela¨. None of these words exist in Spanish, but they evoke the fantastic and physical sensations that I feel when I listen to this piece. It´s the first work that I create in an Intelligent Dance Music (IDM) style. When I wrote it, I concentrated in various issues at the same time, like looking for ways of connecting dance rythms and microrythmic textures, creating contrasts between different densities, sculpting different levels of deepness using spatialisation between both speakers and using sounds that have the potential of triggering very nitid images in the audience. This work is dedicated to the members of the Morelian collective ¨MONOCROMO¨.

Carlos López Charles (Sacramento, U.S.A., 1978)

His main interests are the creation of pop electronic music and the interaction between sound and image. He has composed instrumental, orchestral, electroacoustic, film, dance and theatre music.

He worked at CMMAS from 2007 to 2011 as Production Manager. He studied a bachelors in Music Composition at the Escuela Superior de Música and a Masters in Computer Aided Composition in Paris VIII University with a grant from the French Embassy. He is currently doing a PhD in that same university thanks to the sponsorhip of CONACYT-FONCA.

More info and music are available at:

www.carloslopezcharles.com

Track 4: Patoruzú. Francisco Colasanto.

“Patoruzú” is a piece for piano and tape composed in 2008.
Is based in a folkloric rhythm from Argentina called “chacarera”. This rhythm is taken and modified by the piano and tape in a counterpoint way. 
The tape part uses mostly sound of a prepared piano in the John Cage’s way
Was recorded by Gary Barnett

Francisco Colasanto was born in Buenos Aires, Argentina in 1971. Lives in Mexico since 2006

He obtained his degree in electroacoustic composition from Quilmes National University.

Colasanto worked as music and technology professor at the National School of Cinema (ENERC), Centro Cultural Ricardo Rojas, LIPM (Centro Cultural Recoleta) and at the ORT Institute (Producer of electroacoustic arts)

He was awarded with the following distinctions:

     Cultural Ministry of Spain (2000)
    Fundación Antorchas (2003)
    Cultural Ministry of Spain (2006)
    Harvard University Studio for Electroacoustic Composition (Live Electronic Music Competition 2006).
    Juan Carlos Paz Prize (2004) granted by the "Fondo Nacional de las Artes" Argentina.
    Giga-Hertz award 2009

He is currently the technical coordinator of the Mexican Centre for Music and Sonic Arts (CMMAS) located in the City of Morelia, México. (www.cmmas.org).

He has composed music for several projects (dance, theatre, installations, movies, commercials)

He is also the author of the book: “Max/MSP: guía de programación para artistas” (http://www.maxmsptutorial.com/)

Interprete: Gary Barnett

Gary Barnett has performed as a piano soloist in major cities throughout the world including New York, London, Paris, Singapore, and Pune, India, among others. He received his DMA in piano performance from the University of Kansas where he studied with Dr. Jack Winerock. Previous teachers include Manahem Pressler, Lev Vlassenko, Gary Amano, and Jeff Manookian. Currently he is pursuing a Ph.D. in historical musicology at the University of California Riverside in Iberian keyboard music. Barnett will be residing in Lisbon this year conducting research on the life and works of Carlos Seixas at the National Library of Portugal under a grant from the Luso-American Development Foundation.

Track 5: Logos. Edgar Barroso. 

A commission from the "INTERNATIONAL VISIONES SONORAS FESTIVAL 2008″ for the TRIO NEOS. This piece is based on the text "Against image. About Poetry and Philosophy" by the Mexican Philosopher Santiago Espinosa, currently a PhD candidate at the University of Paris-Sorbonne Paris IV, and the Aristotle definition of LOGOS as argument from reason, one of the three modes of persuasion.

Edgar Barroso

Born in Mexico in 1977, Edgar Barroso is a PhD Candidate in Music Composition at Harvard University where he worked with Hans Tutschku, Brian Ferneyhough, Helmut Lachenmann, Michael Gandolfi and Chaya Czernowin. His education includes a Master in Digital Arts, a Postgraduate Diploma in Composition and Contemporary Technologies and a “Cum Laude” Bachelor in Music Composition. Starting in 2010 he was appointed as Director of the Harvard Group for New Music. As a Teaching Fellow at Harvard he taught Electroacoustic Music Composition, Advance Composition and Music Theory. As a Resident Tutor at Adams House he mentored the “Harvard Composers Association” and he is a Sophomore Academic Adviser. His works have been interpreted in important forums in North America, Ibero-America, Asia and Europe. During 2006-2011 he received “The Bohemians” (New York Musicians Club) Prize (USA), the Francis Boott Prize in Music Composition (USA), 1rst Prize at the Jurgenson International Composition Competition for young composers (Russia), Best Audio Award from International Black&White Multimedia Festival (Portugal) he was the Grand Prize Winner of the Harvard University Live Electronics International Composition Competition (USA), 3rd Prize at the Ensemblia 2007 International Composition Competition (Germany), and he has also been granted the “Young Creator Award” by the National Fund for Culture and Arts (Mexico) for his project “Transaxial” in Music Composition. He has received commissions from the DAAD (2006) Deutscher Akademischer Austausch Dienst, (Germany) and the PHONOS Foundation (SPAIN) among others. In 2005 he was a Scholarship Holder of the Music Technology Group in Barcelona. Barroso also received the Fellowship for the Audiovisual and Music for Young Creators given by the University Institute for Audiovisual (Barcelona). He is currently holding a “CONACYT – Fundación México en Harvard Fellowship” and a Film Study Center Fellow at Harvard for the creation of a Multimedia Operetta “Zezenilli”. In addition, he is the founder of the Open Source Creation Group a cluster of Harvard Graduate and Undergraduate students who believe in transdisciplinary collaboration as the platform to enhance innovation and social integration. The Open Source Creation Group designs collaboration strategies to empower student organizations, business incubators, university programs, government programs, NGOs, and citizens who are socially responsible and believe in cooperation. He has scored music for film, documentary, audiovisuals, animation, short films, installations and recently he is exploring with experimental video among other audio visual collaborations. His last score for the film “La Brújula la lleva el Muerto” is Official Selection at the International Tokyo Film Festival.Barroso continues instrumental practice as a cello player, exploring diverse techniques of improvisation with/out live electronics.

For more information please visit:

 www.edgarbarroso.net

Performers: Menbers of Ensemble Aventure
Walter Ifrim, Clarinete
Wolfgang Rüdiger, Fagot
Akiko Okabe, Piano
Edgar Barroso, Live Electronics
Robert HP Platz, Director

Ensemble Aventure

Ensemble Aventure was founded in Freiburg in 1986. The main concerns of this 15-player ensemble are the relating the avantgarde to the tradition from which it stems; rediscovering apparently well-known musical movements; programming forgotten or politically oppressed music; supporting the radically new, and uniting all these themes in carefully composed concert programmes.

These aims find their expression in the countless pieces commissioned by Ensemble Aventure, whose repertoire encompasses works of the Second Viennese school, the North- and South-American avantgarde, the French Spectralists, the Darmstadt school (old and new), electronic music, concept music, as well as young composers with a strong musical personality. Ensemble Aventure also seek new challenges by exploring non-European music, particularly from Latin-America, Israel and Palestina.

The ensemble has made numerous CD recordings, appearances on radio and television, and international tours. In 2001 the ensemble initiated the biannual International Elisabeth Schneider Composition Competition. Other activities include a varied educational programme in collaboration with schools, universities and music academies. In addition to their regular concert series, they founded a thematically oriented new music festival – Freiburger Frühling (Freiburg Spring ). The ensemble has been awarded prizes and grants from the European Economic Society, the Ernst von Siemens Foundation – just a new one in 2011 – and the German Record Critics’ Award for a high level of artistic quality.

In 2005, Ensemble Aventure took part in the Cage-Project Sculptures Musicales at the Donaueschingen New Music Days, and received first prize in the Children of Olympia competition, held by the National German Arts Council. In 2006, Ensemble Aventure celebrated its 20th anniversary during the second Freiburger Frühling festival. The event also witnessed the premières of more than 35 birthday pieces written by composers from all over the world. In the same year Aventure was invited to perform at new music festivals in São Paolo (Brazil) and Montevideo (Uruguay), and they accompanied their tour with master classes for students. The trip was a resounding success and has led to several invitations to Latin-American countries and capitals for further masterclasses and concerts. In 2011, the year of the 25th anniversary of Aventure, the ensemble followed invitations to Argentina and Uruguay and performed, supported by Goethe-Institute, mixed programs with Latin American and European composers in Montevideo, La Plata, Santa Fe and Rosario, accompanied with workshops and master classes for students, composers and instrumentalists.

Ensemble Aventure is part of MehrKlang Freiburg - Netzwerk Neue Musik of the Kulturstiftung des Bundes, takes part in several festivals in Germany and abroad and is institutionally supported by the City of Freiburg and the Land Baden-Württemberg.
More informations and actual dates see www.ensemble-aventure.de


Robert HP Platz 
Composer and conductor

Platz was born in 1951 in Baden-Baden, Germany. He studied with Wolfgang Fortner and Karlheinz Stockhausen, as a conductor with Francis Travis. Further studies in Parapsychology, later computer composition (IRCAM, France).

Among numerous awards and prices, Platz was composer in residence at the Villa Serbelloni (Rockefeller Foundation) and spent several months in Japan upon a grant by Japan Foundation.

Platz taught and published in many european countries, the US, Mexico and Japan. He appeared or had his works performed in all the important festivals in Europe, including the Salzburg Festival.

Platz has conducted more than 300 first performances by composers including Bussotti, Hosokawa, Huber, Kagel, Scelsi, Xenakis...

He lives in Cologne and is currently principal guest conductor of Ensemble Alternance (Paris) and Musica d'Insieme (Milan).

Since 2005 Platz is also member of the Bureau du directeur of the electronic studio Centre de Recherches et Formation Musicales de Wallonie (CRFMW) in Liège, Belgium.

His CD with Ensemble Alternance (works of Mauro Lanza) was selected by the Academie Charles Cros, his portrait CD of Toshio Hosokawa recieved the clef d'or as the best CD of the year 2009 in France.

His writings on music cover several volumes; a book about contemporary technique of the violin (with Irvine Arditti) is in preparation.

Track 6: Le Chiffre. Simon Vincent.

“Le Chiffre” is primarily a study of two sets of materials: an 8-channel playback system, and recordings of stone, dried leaves, ice and an acoustic guitar.

The opening sounds of the piece introduce the playback system itself, moving slowly from left to right over the 8 channels, and consist of little more than “system noise” recorded from the composer’s computer.

Gradually, small, detailed composed studies of the remaining materials are presented, guiding the narrative of the piece through blocks and textures of sounds with varying densities as well as degrees of dryness and resonance.

Originally conceived for 8-channels, this 2-channel version of “Le Chiffe” can only serve as an approximation of the intended spatial experience. It nonetheless provides the listener with a dynamic compact study of space and texture between left and right frontal loudspeakers.

“Le Chiffre” was composed during the composer’s residency at CMMAS between February and March 2010, with generous financial support from CMMAS and the Akademisches Auslandsamt, University of Potsdam, Germany, the residency being the initial stage of a long-term collaboration bewteen CMMAS, the Department of European Media Studies at the FHP, Potsdam, Germany and the University of Potsdam, Germany.

The sound materials were recorded in Berlin by Oliver Wicke and the composer.


Simon Vincent (born 1967, London) studied contemporary classical and electroacoustic composition with Denis Smalley at the University of East Anglia, where he gained both his BA and MMus.

Since his return to London in 1993, he has been active in a variety of musical settings ranging from live electroacoustic composer/performer and dj (Ministry of Sound Radio, FM4-Austria, Resonance FM, Progression Sessions, Rotterdam Film Festival, ICA, London Fashion Week, Glastonbury Festival, Huddersfield Contemporary Music Festival) to guest and visiting lecturer at City University (London), International Bartok Seminar and Festival Series (Hungary), Visiones Sonoras Festival (Mexico), “Beyond Boundaries: Media, Culture and   Identity in Europe” Conference at Bahcesehir University (Istanbul).

In 1997, he established VISIONOFSOUND, releasing his own electroacoustic works, which have gained critical praise in publications including The Wire, Time Out, Straight No Chaser, Jazzwise, Knowledge and Mojo.

He is currently living in Berlin, working as a composer and performer and is an adjunct Professer in the Department of European Media Studies Medienwissenschaft, at the Fachhochschule Potsdam and Universität Potsdam, in the area of “un/sound” (experimental composition, acoustic design, (new)medial, socio-cultural and political music studies), and where he is head of the EMW Orchestra.

He is currently writing his doctoral thesis with Professor Dr Dieter Mersch and Professor Winfried Gerling.

Track 7: Plegarias. Mario Lavista.

Plegarias (Prayers), by Mario Lavista, was commissioned in 2009 by the Mexican Center for Music and Sonic Arts (CMMAS). It was there that the composer developed and recorded his electroacoustic sounds, with the technical assistance of Francisco Colasanto. Plegarias is the only mixed electroacoustic work in Lavista´s catalog, despite the fact that he worked extensively with electronic music during the sixties.
The piece opens with a bell tolling in the electronic part, leaving behind it a stream of overtones. This is the background for a plaintive slow motive in the high register of the bassoon, which is repeated like a litany. The religious feeling awakened by the archetypical sound of the bell has been poetically expressed elsewhere:

Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells.

The pensive melody of the bassoon is subtly colored by the use of alternate fingerings, and organized in phrases that vanish among delicate multiphonics. Little by little, the instrument descends towards its deepest register, while the electronic sounds become more active —without totally abandoning their bell-like quality— imitating the melodic lines of the bassoon, while bathing them in their frequency saturation. The piece concludes with its opening motive, in an insinuation of formal circularity which is dear to the composer.
Plegarias is genealogically related to Salmo (Psalm) (2007), for soprano, four crotales and double bass, a work that acts as its compositional point of departure. It is dedicated to Wendy Holdaway and Francisco Colasanto.

Hebert Vazquez

Mario Lavista

Nació en la ciudad de México en 1943. Estudió composición con Carlos Chávez y Héctor Quintanar, y análisis musical con Rodolfo Halffter en el Conservatorio Nacional de Música; de 1967 a 1969 fue becado por el gobierno francés para estudiar con Jean Etienne Marie en la Schola Cantorum. Asistió a seminarios sobre música nueva impartidos por Henri Pousseur. En 1969 fue alumno en el Curso de Música Nueva impartido por Karlheinz Stockhausen en la Reinische Musikschule de Colonia y participó en los Cursos Internacionales de Música Nueva en Darmstadt, Alemania. En 1970 fundó el grupo de improvisación Quanta interesado en la creación-interpretación simultanea y en las relaciones entre la música "en vivo" y la electroacústica.

Ha realizado trabajos gráfico-musicales con el pintor Arnaldo Coen y ha compuesto la música para las películas Judea, Semana Santa entre los coras, María Sabina, mujer espíritu, El niño Fidencio, Sor Juana Inés de la Cruz, y Cabeza de Vaca, del realizador mexicano Nicolás Echevarría.

En los últimos años ha trabajado en estrecha colaboración con algunos notables instrumentistas interesado en la exploración y la investigación de las nuevas posibilidades técnicas y expresivas que ofrecen los instrumentos tradicionales. En 1987 le otorgaron la beca de la Fundación Guggenheim para escribir su ópera en un acto Aura, y fue nombrado miembro de la Academia de Artes. En 1991 recibió el Premio Nacional de Ciencias y Artes y la medalla Mozart y dos años después el Consejo Nacional para la Cultura y las Artes lo distinguió como creador emérito. 

En 1998 ingresó a El Colegio Nacional.

 Actualmente imparte las cátedras de composición, análisis y lenguaje musical del siglo XX en el Conservatorio Nacional de Música y es director de Pauta, cuadernos de teoría y crítica musical. Recientemente apareció su libro Textos en torno a la música.

 Su obra de orquesta ha sido interpretada por los principales directores y orquestas del país, así como por las orquestas de Dallas y Pittsburgh bajo la dirección de Eduardo Mata. La orquesta de San Antonio le encargó y estrenó bajo la dirección de Zdenek Macal la obra Clepsidra (1990) para conmemorar el tricentenario del descubrimiento del río San Antonio. En 1994 la American Composers Orchestra bajo la dirección de Dennis Russell Davies estrenó en Nueva York su obra Lacrymosa.

 
Ha impartido conferencias y seminarios en Indiana University, Cornell University (N.Y.), University of California at San Diego (UCSD), University of Wisconsin (Milwaukee), Western Carolina University, McGill University (Montreal), University of California at Santa Barbara (UCSB), Atlantic Center for the Arts (Florida), Florida International University, Hofstra University (New York), University of Chicago, San Francisco State University, entre otras.

Algunos de sus recientes encargos son: Danza de las bailarinas de Degas para flauta y piano, para la flautista Jill Felber de la Universidad de Santa Barbara; Cinco danzas breves, para el Quinteto de Alientos de la Ciudad de México; Misa a Nuestra Señora del Consuelo para coro mixto a capella, para el Contemporary Vocal Ensemble de la Universidad de Indiana; Cuarteto de cuerdas No. 3, "Música para mi vecino", para el Cuarteto Kronos; Tropo para Sor Juana, para la Orquesta Filarmónica de la Universidad de México; Cuarteto de cuerdas No. 4, "Sinfonías", para la Universidad de Cornell y el Cuarteto Latinoamericano; Danza isorrítmica para el grupo de percusiones Tambuco; Octeto para ocho alientos, para la Sinfonieta Ventus; y Natarayah para el guitarrista David Starobin.

Performer: Wendy Holdaway

Since her arrival in Mexico in 1982, American-born bassoonist Wendy Holdaway has maintained an important presence in the Mexican contemporary music scene, particularly as a member of Trio Neos and Mexico City Woodwind Quintet. In addition, she has been a key factor in the creation of a Mexican repertoire for her instrument, beginning in 1988 when Mario Lavista wrote for her his Responsorio for bassoon and percussion, one of the most distinguished works from his extended-technique compositional period.