The missing part of the invisible sound space, the universe “left-right side behind-top-bottom” completes the scene “in front”, rebalancing the relation of the listener with the world. The emotions are amplified, diverse and global at the same time, we get out of the “imbalance” of the single frontal position.
Creations and sound technical experience of rhythm-space harmony
In 2010 Amor e Vida is a premiere of mixed music in 6.0 in Manaus with soprano, tenor and piano.
In 2012 her “digital opera” A Fada e o Girassol is created in the floors of the Belém Opera House in addition to the stage, in 6 separate channels. The acoustics of this splendid Italian-style hall responds perfectly and confirms her theory: all places in the hall allow a “balanced” hearing of this music.
In 2013, Eu nasci was premiered in 6.0 in the cathedral of St. Lucia (Caribbean). The loud speakers were arranged around the audience, and in front of it with the soprano. If the more reverberant acoustics transformed a little the listening, the spatial perception was not altered more than the general perception of the pitches and rhythms.
In 2014 she tested several computer programs for spatialization, and was interested in recording binaural, 5.1 and 7.1 techniques.
In 2015 she innovates in her ballet Floresta Multi Espacial with a manauara technician by adding an independent system of mini loud speakers that she synchronizes with the music in 7.0 broadcasted live during 7 performances. These mini loud speakers, placed under the seats of 300 spectators, allowed unique emotions and sensations: the earth breathed, the toads expressed themselves from the ground, a carpet of sound grass materialized.
In 2015, her first orchestral realization spatialized, in the opera of Manaus, the Chamber Orchestra of Amazonas. Vento na Árvore placed the violins in 8 places in the boxes of the parterre, around the audience, the violas, cellos and double basses on stage. Sound movements were drawn throughout the hall, like tree leaves following the movements of the wind, the conductor Marcelo de Jesus leads facing the audience.
In 2016 a commission from the Amazonas Filarmônica Orchestra gives birth to the melody Viajar (Travel), spatialized in 5 places in the floors of the Manaus Opera House, in addition to the stage. Conducted by Marcelo de Jesus, the European and extra-European modalities are perceived distinctly in the “musical forest” room, and unite to describe sound spirals or rhythms conceived in the three dimensions of the physical space.
Insetoïda for violin/voice and multichannel soundtrack was born in 2016. Cinevocalisa stages a human/insects chase running all over the hall walls, before transforming the fear into memories of happy moments shared in good coexistence. In Cançaõ, song of the pine forest, percussion-cicadas answer to themselves in the whole hall around the spectators (inspired in Fernando Pessoa´s poem).
In 2018 she initiated her work on spatialized popular percussive cycles, integrating them into rhythm-space harmony. She begins to write her Symphony-ballet Cenas da Amazônia, with the support of the Percussions de Strasbourg, the Amazonas Filarmônica orchestra and its conductor Marcelo de Jesus.
In 2019 Amazonhecer, the first popular music with percussive cycle spatialized by rhythm-space harmony is premiered in the Teatro Amazonas during a concert by the Amazonian group Gaponga.
In 2020, Rhythms in 3D from the Amazon presents Insetoïda, Amazonhecer, excerpts from Samba do Carro and several popular rhythms boxes in 3D, in a 6.0 multichannel mixed music, during the “Night of Ideas” of the Alliances Françaises in Brasília on the 31-01-2020.
In 2020 Jazzmazonia was born. It will be created during next Festival Amazonas de Jazz, with the bioinstruments of the Gaponga group, saxophone, piano and spatialized battery, now scheduled for July of 2022.
In 2021 was created Plant Dance, Amazonian carnival, first music video of dance of rhythm-space harmony, which revolutionizes the sound-image relation in stereo and 5.1. The percussions of the carnival “bateria de samba” are spatialized for the first time, while the dancers are localized on stage/image in function of the musical spatialization.