Paulo Chagas

Paulo Chagas
Professor

Ph.D., 2003, University of Liège, Belgium

Email: paulo.chagas@ucr.edu 
Phone: (951) 827-2939
Office: ARTS 138

Website: http://www.paulocchagas.com

Born in Salvador, Brazil, prolific composer Paulo C. Chagas has created over 160 works in many different forms including stage, orchestra, chamber, choral, percussion, solo instruments, electroacoustic, and multimedia. His award-winning and ambitious productions have been applauded throughout the Americas, Europe, and Asia. After living and working for extended periods in Belgium and Germany, Chagas has resided in the U.S. since 2004.

As a survivor of torture in his early adulthood at the hands of the Brazilian military, it should not be surprising that Chagas’ art has been indelibly shaped by such an experience. His music has consistently been born out of experimentation and the desire to use the transcendent power of creation to heal and exemplify a resistance to the darker tendencies of societies, a threat posed by the over-commercialization of art. Chagas’ oeuvre explores heterogeneity and richness across cultures.

Chagas first studied at the Universidade de São Paulo and later with Henri Pousseur at the Conservatoire Royal de Musique in Liège and the University of Liège. He then turned his focus toward electronic music, studying at the Hochschule für Musik und Tanz in Cologne, and earned his PhD in Musicology at the Université de Liège.

At the ’Sonidos de las Américas’ festival of the American Composers’ Orchestra (1996), his orchestral work Eshu: the Gates of Hell was performed at Carnegie Hall. His techno opera RAW was staged at the Opera Bonn (1999). Paulo C. Chagas has collaborated with many international choreographers, visual artists and distinguished performers in works for chamber operas, digital oratorio, choreographic theater, installations audiovisual and multimedia works. Since 2005 alone, Chagas’ music has been extensively performed in dozens of countries in Europe, Asia, and the Americas by distinguished soloists and orchestras alike.

Among numerous honors, Chagas has received composition prizes from highly esteemed international competitions over the course of his extraordinary career. His piece, Webern: de tempos em tempos won at Rio de Janeiro, while Oddort was honored at l'Opéra Autrement from the Centre Acanthes. Bonfirm was selected for the IAMIC Annual List. Chagas has also received commissions from the festival Ars Musica in Brussels, the Bonner Entwicklungswerkstatt für Computermedien, the Deutsches Nationaltheater und Staatskapelle Weimar, Moscow Autumn, MusikTriennale, Oper Bonn, Theaterhaus Stuttgart, WDR Radio Cologne, Wittener Tage für Neue Kammermusik, and the Brazilian Biennale of Contemporary Music.

As sound director and composer-in-residence at the Studio for Electronic Music at WDR Radio Cologne in the 1990s, Paulo C. Chagas conducted research in computer music, algorithmic composition, electronic music, interactivity, multimedia, and sound spatialization. He taught as a visiting lecturer at the Université de Liège in Belgium from 1991–93 and at the Conservatoire Royal de Musique in Liège in 1995–96. He served as a member of the board of directors of the Centre Henri Pousseur in Liège from 1996-2004, and was musical director and composer-in-residence of the Bonn Research Center of Computer Media in Germany.

From 2004-2008, Chagas was Assistant Professor of Composition before being promoted to Professor of Composition in 2008, at the University of California, Riverside. He founded and direct the state-of-the-art Experimental Acoustic Research Studio (EARS), a facility designed to modernize interdisciplinary research for electroacoustic music and multimedia: https://ears.ucr.edu.

Paulo C. Chagas’ scholarly activity has organically evolved alongside his artistic career. He has written a significant number of book chapters, journal articles, and proceedings in his four languages of English, Portuguese, German, and French. His book, Unsayable Music (Leuven University Press, 2014), develops in great detail the main themes of his research, which include electroacoustic and digital music, musical semiotics, and philosophy.

Statement:

My compositional philosophy is driven by the belief that a major transformation is occurring in the way we create and experience art and music in today’s digital world. Aside from writing for traditional acoustic media, my work makes extensive use of electronic sound and audiovisual media while developing a critical approach to technology in order to achieve transparency and illuminate human thinking and emotion. I hold that art has an ethical mission to provide people the opportunity to observe the world from the outside. Now more than ever, the arts offer myriad possibilities for transcendence while critically engaging with human and social issues.

List of Works:

Orchestra/Ensemble

Luminous   (2019)   13:00”
for solo percussion and orchestra
commissioned by the the “Unicamp Symphony Orchestra”, Campinas, Brazil

Dança Marajoara   (2017)   14:30”
for orchestra
commissioned by the Theatro da Paz, Belém, Brazil

Luzes   [Lights]   (1992/2015)   14:00”
for chamber orchestra
commissioned by the “Tippett Ensemble”, Germany

Bodenlos for Vilém Flusser   (2011)   9:30”
for chamber ensemble (13 players)

Sinfonia de Câmara Brasileira   (Brazilian Chamber Symphony)   2009   24:30”
for wind orchestra
commissioned by the “São Paulo Symphonic Band”, São Paulo, Brazil

Radiance   2004   14:00”
for orchestra
commissioned by the “São Paulo State Symphonic Orchestra”, São Paulo, Brazil

Elegba   2001   20:00”
for solo percussion and symphonic band
commissioned by the “São Paulo State Symphonic Band”, São Paulo, Brazil

Migration   1995-97   26:00”
for MIDI piano, large ensemble and live electronics
commissioned by WDR (West German Broadcasting Company), Cologne, Germany

Un invisible laberinto de tiempo   [An Invisible Time Labyrinth]   (1996)   12:00”
for chamber ensemble (8 players)
commissioned by Ensemble Champ d:00”Action and Festival Ars Musica. Belgium

Nuit-lumière   [Night-Light]   (1995)   15:00”
for ensemble (13 players) and live-electronics
commissioned by the Ensemble Musique Nouvelle and Festival Ars Musica, Belgium

Sodoma Suite   (1991)   43:00”
for vocal quintet (SSATB), string orchestra, percussion and electronic sounds

Eshu: la porte des enfers   (Eshu: the gates of hell)   1983   21:00”
for afro-Brazilian traditional percussion ensemble, orchestra and electronic sounds
commissioned by the “Jeunesses Musicales de Liège”, Belgium

La Passion selon Guignol   (The Passion according to Punch)   1982   25:00”
for amplified vocal quartet (SATB) and orchestra (in collaboration with Henri Pousseur)
commissioned by Electric Phoenix, London, UK

Motet: Illibata Dei Virgo Nutrix   (1982)   14:00”
for brass ensemble (10 players)

Opera/Dance

Flame   (2017)   16:30”
for percussion, live-electronics and dance
commissioned by the Centro Mexicano para la Música y las Artes (CMMAS)

A Geladeira   [The Refrigerator]   (2014)   40:00”
digital oratorio
commissioned by the Cultural Center São Paulo (CCSP), São Paulo, Brazil

Temporal Properties of the World: digital oratorio   (2010)   70:00”
digital oratorio

Corpo, Carne e Espírito   [Body, Flesh and Spirit]   2008   75:00”
digital oratorio (in collaboration with Johannes Birringer)
commissioned by the 9th International Theater Festival Stage & Street (FIT), Belo Horizonte, Brazil, 2008

eros-ion!   2006-07   85:00”
opera-installation
commissioned by the Festival Música Nova, São Paulo

Blind City   (2004)   30:00”
interactive opera installation
for soprano, actors, dancer, speakers, electronic sounds and visual projection

Visions Machine   (2000)   40:00”
for mime, percussion and electronic sounds
mime: Isidoro Fernandez

RAW   1999   75:00”
techno opera
commissioned by the Opera Bonn, Germany, 1999

Artaud   (1997)   80:00”
electronic music for dance theater
commissioned by the National Theater Weimar, Germany

Capivara   (1997)   70:00”
electronic music for dance
commissioned by Lina do Carmo Dance Company, Germany

Observation Suite: Sceneries for a Dancer and Virtual Actors   (1996)   51:00”
electronic music, multimedia an interactive performance
commissioned by BEC (Bonn Research Center of Computer Media), Germany

Der Fluss   (The River)   1994   75:00”
scenic oratorio
commissioned by the Stuttgart Academy of Music and the “Latin American Media Society”, Stuttgart, Germany

Francis Bacon   1993   80:00”
for soprano, countertenor, baritone, string quartet, percussion and electronic sounds
commissioned by the Theater Theaterhaus, Stuttgart, Germany, 1993

Rasender Stillstand   (1992)   15:00”
interactive electronic music and live performance
commissioned by BEC (Bonn Research Center of Computer Media), Germany

Raptus   (1992)   60:00”
for dancer, two percussion and live-electronics
commissioned by the City Culture Council, Cologne, Germany

Sodoma   1991   75:00”
for vocal quintet (SSATB), 16 strings, 3 percussion players and electronic sounds
commissioned by the Theater Atelier Saint Brussels, Belgium

Vom Kriege I   [From War I]   (1990)   25:00”
chamber opera

Vom Kriege III   [From War III]   (1989)   35:00”
chamber opera

Shango Kultmusik   [Shango Cult Music]   (1989)   70:00”
for dancer, 2 percussion and live-electronics

Oddort   1989   41:00”
chamber opera
premiered at the Festival d’Avignon, France, 1989

Ellipse   (1986)   14:10”
for mime (or dance) and electronic sounds

Peep Show   1985-87   80:00”
music theater
premiered at the Festival ISCM in Cologne, Germany

Magisches Auge   [Magic Eye]   (1985)   4:38”
for actress, actor and electronic sounds   [from Peep Show]

Baiser   [Kiss]   (1985)   3:36”
for actress, actor and electronic sounds   [from Peep Show]

Du bist ein Schwein   [You are a Jerk]   (1985)   8:13”
for actress/singer, drums and electronic sounds   [from Peep Show]

Pornokabel   (1985)   9:43”
for actor, electronic sounds and image projection   [from Peep Show] text: Horst Tonmeyer

Eshu: music theater   (1984)   23:00”
music theater

Chamber Music/Solo

Repente I   (2019)   8:30”
for cello and piano
commissioned by the 6th Villa-Lobos International Chamber Music Festival

Tänze vor Angst   [Dance under the Realm of Fear]   (2019)   10:00”
for bassoon and piano
commissioned by Wellington Müller Bujokas

Pomona, über-reif   [Pomona, overripe]   (2018)   10:00”
for cello and piano
commissioned by the 5th Villa-Lobos International Chamber Music Festival

Two Marimbas   (2018)   6:30”
for two marimbas 

A Serenata   (2018)   6:30”
for soprano and guitar

Orfandade   (2018)   4:30”
for soprano and guitar

Three Miniatures   (2018)   5:00”
for guitar

Embracing Emptiness   (2018)   16:00”
for percussion solo or percussion, electronic sounds and visual projection

a thousand machines  (2017)   11:20”
for piano and film

Noturno No. 2   (2017)   13:00”
for piano and live-electronics
commissioned by the Moscow Autumn Festival 2017

I am a voice without a form   (2017)   3:30”
for flute

Amor Feinho   (2017)   12:30”
for soprano and guitar

Festa do Bonfim   [The Feast of Bonfim]   (1997/2017)   18:00”
for 3 percussion players and electronic sounds
commissioned by Trio Franco-Brésilien, São Paulo/Paris

Mutações   [Mutations]   (1996/2017)   24:00”
for 2 percussion and electronic sounds
commissioned by Duo Diálogos, São Paulo, Brazil

The Human Being   (2017)   6:30”
for cello

Too Much Love   (2016)   22:00”
for soprano, percussion and live-electronics
commissioned by the Culver Center, Riverside (CA), USA

On the Three Metamorphoses   (2016)   15:00”
for alto saxophone and electronic sounds
commissioned by the 3rd Villa-Lobos International Chamber Music Festival, Riverside

The Hungry Ghosts   (2016)   5:00
for flute

Sisyphus of the Ear   (2016)   16:00”
for percussion, electronics sounds and film
commissioned by the Moscow Autumn Festival 2016, Moscow, Russia

Cotijuba   (2016)   9:30”
for string quartet, live-electronics, and visual projection
commissioned by the 2nd Villa-Lobos International Chamber Music Festival, Riverside (CA), USA

Iconic Polyphony   (2015)   45:00”
for piano and live-electronics
commissioned by the All Saints:00” Episcopal Church, Riverside (CA), USA

Mirror of Madness   (2015)   14:00”
for flute, saxophone, cello, piano, percussion, live-electronics and visual projection
commissioned by the Moscow Autumn Festival 2015 and the GRAMEnsemble, Moscow, Russia

Persevering   (2015)   9:00”
for bass clarinet, cello and marimba
commissioned by the Centro Cultural São Paulo, Brazil

Void   (2015)   12:00”
for bass clarinet
commissioned by the Centro Cultural São Paulo, Brazil

Mirror of Death   (2015)   12:00”
for violin, flute, trumpet, bass clarinet, piano and percussion
commissioned by the Festival “Música de Agora Bahia”, Salvador, Brazil

Noturno No. 1   (2015)   10:00”
for piano

Luminous Self   (2015)   11:00”
for two vibraphones and two marimbas
commissioned by the Los Angeles Percussion Quartet

Return   (2015)   22:00”
for percussion, live-electronics and multimedia

Gravity and Grace: Mobile III   (2015)   22:00”
for cello, live-electronics and visual projection
commissioned by the1st International Villa-Lobos Festival 2015

Gravity and Grace: Mobile II   (2015)   25:00”
for violin, cello and piano
commissioned by the 1st International Villa-Lobos Festival 2015

Gravity and Grace: Mobile I   (2014)   24:00”
for cello and piano
commissioned by the 1st International Villa-Lobos Festival 2015

In-Between   [Zwischenraum]   (2013)   22:00”
for 3 percussion, live-electronics and visual projection
commissioned by the Festival Moscow Autumn 2013, Russia

Awake   2013   17:00”
for soprano and percussion

No Meio do Caminho   (In the Middle of the Road)   2011   17:00”
for solo percussion

Canção da Areia   (Song of Sand)   2008/11   14:00
for soprano, clarinet and piano

Canções da Memória   (Songs of Memory)   2008/11   27:00”
for soprano and piano

Canções dos Olhos   (Songs of Eyes)   2005/11   21:30”
five songs for soprano, cello and piano

Time Wheel   (2011)   11:00”
for viola and live electronics

Figures of the Body   2010   15:00”
for piano and live-electronics

Orbital Studies   2008   45:00”
5 etudes for piano (also for piano and live-electronics)
commissioned by the Festival Musica Nova, São Paulo, Brazil,

Dreaming the Unknown   2006   15:00”
for flute, clarinet, violin and cello

O Sonho e a Selva   [The Dream and the Jungle]    (2005)   13:00”
for soprano, bass clarinet, percussion and electronic sounds

Trabalhos II   [Works II]   (1991/2003)   6:00”
for percussion ensemble (8 players)

Trabalhos I   [Works I]   (1991/2003)   6:00”
for percussion ensemble (7 players)

Circular Roots   2003   14:00”
for violin, electronic sounds video and interactive image processing
commissioned by the CRFMW (Centre de Recherches et Formation Musicales de Wallonie), Liège, Belgium

Rumores III   1998/2003   12:00”
for 2 percussion players

Der Blaue Raum   [The Blue Room]   (2001)   22:00”
for speaker and electronic sounds
commissioned by Festival “Moscow Autumn 2001”, Moscow, Russia

Spheres II: Intimacy   (2001)   9:00”
for guitar and harp
commissioned by Lucien Plessner, Cologne, Germany

Ave Maria   2001   38:00”
motet for 3 female voices (SSA), live electronics and surround (5.1) sound space
commissioned by the Festival “Romanischer Sommer”, Cologne, Germany

Spheres I: Soap Bubbles   (2000)   14:00”
for bass clarinet and marimba
commissioned by Diálogo Produções (Joaquim Abreu), São Paulo, Brazil

Migration II   (1999)   18:00”–30:00” (variable length)
for violin solo or violin and live–electronics
commissioned by the CRFMW (Centre de Recherches et Formation Musicales de Wallonie),

Initium   (1997)   10:00”
for soprano, flute (flute in G), cello, drums, piano
commissioned by the Ensemble Kadéléis (Luc Gérard), Belgium

Fogo   [Fire]   (1995)   9:00”
for organ
commissioned by Martin Herchenröder, Siegen, Germany

Aboio   (1995)   24:00”
for amplified vocal quartet (SATB)
commissioned by the “European Institute of Choral Singing”, Luxembourg

Fragment   (1995)   3:00”
for double bass
commissioned by the Conservatoire Royal de Liège, examination piece for the double bass class

O Rio VIII   [The River VIII]   (1994)   5:00”
for percussion and electronic sounds   (from Der Fluss)

Bonfim   1994   8:00”
for 2 percussion players and electronic sounds
Award: IAMIC Annual List 2001

Rumores II   1993   12:00”
for 2 percussion players

Rumores I   1992   10:00”
for 2 percussion players

Transaparência   (1992)   6:00”
for 3 trumpets and electronic sounds

Cores   [Colors]   (1992)   12:00”
for vocal quartet (SATB)

Triptych   (1991)   8:00”
for harp

Atabaques   [Drums]   (1991)   1:00”
for 3 percussion   [from Sodoma]

Pas de Deux   (1991)   8:00”
for violin and cello   [from Sodoma]

Découverte du Corps   (1991)   3:00”
for 3 female solo voices (SSA).  [from Sodoma]

Leçon des Voyelles   (1991)   4:00”
for vocal quintet (SSATB) and electronic sounds   [from Sodoma]

Garotos   [Kids]   (1991)   3:00”
for 4 percussion   [from Sodoma]

Sal   [Salt]   (1991)   3:00”
for vocal quintet (SSATB)   [from Sodoma]

Machine de Vision   [Vision Machine]   (1991)   15:00”
5 etudes for electronic music, instruments and voices ad libitum

5 Preludes   (1991)   15:00”
for piano

Ashe   (1984)   20:30”
for 4 percussion and electronic sounds

Lamento   (1984)   8:00”
for clarinet

Do You Love Me II   (1984)   5:00”
for vocal quintet (SSATB) and pop band

Do You Love Me I   (1983)   3:00”
for 3 sopranos and 5 trombones

Immer wieder   (1983)   4:00”
for soprano and bass guitar (or double bass, or bass synthesizer)

Intérieurs: tableaux   (1982)   12:00”
for flute, cello and piano
commissioned by Martin Hesselbein, Maastricht, Holland

Air: up into the silence   (1981)   5:00”
for alto and electronic sounds

Canzona I   (1981)   10:00”
for double bass and piano

Capriccio   (1980)   8:00”
for French horn (natural or valve)

Recitativo   (1980)   6:00”
for viola da gamba

Lygia Fingers   (1979/80)   10:00”
for soprano, mixed choir (SSAATTBB) and vibraphone

É o silêncio   [It is Silence]   (1979)   3:00”
for alto recorder

Harpa Esquisita   [Strange Harp]   (1979)   4:00”
for 2 double basses

Uma Memória e Memória   [A Memory and a Memory]   (1979)   3:00”
for piano

Variações   [Variations]   (1978)   21:00”
for piano

Rios sem Discurso   [Rivers without Discourse]   (1978)   4:00”
for mixed choir (SATB)

A Vladimir Maiakovski II   [For Vladimir Mayakovsyi II]   (1977)   8:00”
for flute and piano

A Vladimir Maiakovski I   [For Vladimir Mayakovsky I]   (1977/78)   8:00”
for flute and piano

Webern: de tempos em tempos   [Webern: from Time to Time]   (1976)   11:00”
for oboe, clarinet, violin, cello, vibraphone and piano
Awarded by the “First National Composition Competition“, Rio de Janeiro, 1977

Three Pieces for Children’s Choir   (1975)   6:00”
for children choir (3 voices)

Electronic/Multimedia

Sonic Imaginations   (2020)   permanent
audiovisual immersive installation

Abfahrt   (2018)   10:19”
music video

No Meio do Caminho   [In the Middle of the Road]   (2017)   23:17”
music film

Sisyphus of the Ear   (2016)   16:00”
music film

Impulso   [Impulse]   (2010)   2:28”
electronic music

Temporal Properties of the World Part 1   2010   22’
music film

Pulsing Knots   [Nós Pulsantes]   (2009)   51:23“
12 etudes for electronic music

Cine Città   (2009)   permanent
audiovisual installation 

Ellipse   (2008)   14:18”
music video

Orbital 0.1   (2007)   10:12“
electronic music

Canções dos Olhos/Augenlieder)   2005   29’:50”
music video

Circular Roots   (2004)   14:00”
music video

Sankta Barbara   (2004)   10:00”
music video

Zeit-Wände VII   [Time Walls VII]   (2003)   permanent   (8:45” loop)
audiovisual installation

In-sein/Ausser-sein   [Being in/Being out]   (2003)   8:45“
electronic music

Einblick II   (2002)   1:30“
electronic music

Streaming   (2001)   21:00”
electronic music and laser installation
commissioned by RAG-Informatik

Streaming   2001   20:33”
electronic music and laser installation

Projektion: 12 channel sound installation   (2001)   permanent   (105:00” loop)
sound installation
commissioned by City Witten

Projektion: 12 channel electronic music   (2000)   17:28“
electronic music

Projektion: electronic music and laser installation   (1999)   18:00”
electronic music and laser installation

Märchen aus dem Metakino: das Choreoskop   [Tales from the Meta-Cinema: the Choreoscope]   (1997)   permanent   (30:00” loop)
interactive audiovisual installation
commissioned by BEC (Bonn Research Center of Computer Media), Germany

Zeit-Wände II   [Time Walls II]   (1997)   8:50”
music video

Migration: 12 channel electronic music   1997   24’19“
electronic music

Transe   [Trance]   (1997)   8:15“
electronic music

Observation Environment   (1996)   45:00”
electronic music and computer animation installation
commissioned by BEC (Bonn Research Center of Computer Media), Germany

Observation Suite: electronic music   (1996)   51:00”
electronic music

Einblick   [Insight]   (1995)   1:16”
music video

The Journey   1995   9’30”
music video
Award: “The 50 Best” International Video Art Prize SWF/ZKM 1997

Global Village/Hidden Pathways   (1993)   30:00”
interactive electronic music, installation, and performance
commissioned by BEC (Bonn Research Center of Computer Media), Germany

The Book of Air   (1993)   permanent   (40:00” loop)
interactive electronic music and holography/video installation
commissioned by BEC (Bonn Research Center of Computer Media), Germany

Rasender Stillstand: electronic music   (1992)   4:50“
electronic music

Véhicule Dynamique   [Dynamic Vehicle]   (1991)   2:25”
electronic music   [from Machine de Vision]

Ellipse   1986   14’10”
electronic music

Fais-moi peur   (1985)   4:23”
electronic music   [from Peep Show]

Computer III   (1985)   4:24”
electronic music   [from Peep Show]

Computer II   (1985)   3:02”
electronic music   [from Peep Show]

Computer I   (1985)   3:40”
electronic music   [from Peep Show]

Ashe: electronic music   (1984)   20:30“
electronic music

Publications

Books

Chagas, Paulo C. 2014. Unsayable Music: Six Essays on Music Semiotics, Electroacoustic and Digital Music. Leuven: Leuven University Press. 278p.

Chagas, Paulo C. 1979. Luciano Gallet via Mário de Andrade: 1º momento: possibilidades. Rio de Janeiro: Funarte, 186p.

Edited Books

Chagas, Paulo C., Hans-Ulrich Werner 2019. A/R/T/ography: SoundArt, RadioArt, MediaArt Siegen: Universität Siegen. 216p. [In press]

Chagas, Paulo C., Hans-Ulrich Werner 2014. Montage. Collage. Komposition. Siegen: Universität Siegen. 202p.

Chagas, Paulo C., Hans-Ulrich Werner 2012. Digital Composition: Von der Klangregie elektronischer Musik zur intermedialen Ästhetik bei Paulo C. Chagas. MuK 190/191. Siegen: Universität Siegen. 200p.

Book Chapters

Chagas, Paulo C. 2018. “Segeln im Meer der Kreativität: Gilberto Mendes (1922-2016)”. A/R/T/ography: SoundArt, RadioArt, MediaArt. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, 3p. [In press].

Chagas, Paulo C. 2018. “Revolt and Ambivalence: Music, Torture and Absurdity in the Digital Oratorio The Refrigerator.” A/R/T/ography: SoundArt, RadioArt, MediaArt. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, 25p. [In press].

Chagas, Paulo C. 2018. Studio für Elektronische Musik des Westdeutschen Rundfunks: Ein Überblick über die wichtigsten Geräte.” A/R/T/ography: SoundArt, RadioArt, MediaArt. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, 29p. [In press].

Chagas, Paulo C. 2017. “Revolt and Ambivalence: Music, Torture and Absurdity in the Digital Oratorio The Refrigerator.” Bridging People and Sound. CMMR 2016. Lecture Notes in Computer Science, vol. 10525. Editors M. Aramaki, R. Kronland-Martinet and S. Ystad. Springer, Cham, p. 331-46.

Chagas, Paulo C. 2016. “Observar o inobservável: Música e tortura no oratório digital A Geladeira.” Com som. Sem som … Liberdades políticas, liberdades poéticas. Editors: H. Valente and S. L. Pereira. São Paulo: Letra e Voz, p. 251-81.

Chagas, Paulo C. 2015. “Musical Understanding: Wittgenstein, Ethics, and Aesthetics.” Music, Analysis, Experience: New Perspectives in Musical Semiotics. Editors: C. Maeder, C. and M. Reybrouck,. Leuven: Leuven University Press, p. 115-33.

Chagas, Paulo C. 2014. “Audiovisual and Multimedia Composition: Understanding the Connections between Acoustic and Visual Media.” Music and Technologies 2. Editor: D. Kučinskas. Cambridge:

Chagas, Paulo C. 2014. “Die kybernetische Zirkularität in der elektronischen Komposition: Projektion 12-kanalige elektronische Musik und Projektion als 12-kanalige Klanginstallation.” Montage Collage Komposition. MuK 195/196. Editors: Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, p. 105-34.

Chagas, Paulo C. 2014. “Einleitung – Einladung.” Montage Collage Komposition. MuK 195/196. Editors:

Chagas, Paulo C. 2013. “Sound, Temporality, and Affect in Chopin: Analyzing Nocturne Op. 27 No. 1 Through Spectral Semiotics.” Music: Function and Value. Proceedings from the 11th International Congress on Musical Signification. Editors: T. Malecka and M. Pawlowska. Krákow: Akademia Muzyczna; Musica Iagellonica, p. 268-80.

Chagas, Paulo C. 2012. “Audiovisuelle und multimediale Komposition: zum Verhältnis zwischen Medium und Form mit einem Überblick zu meinen Werken (1984-2008).” Digital Composition: Von der Klangregie elektronischer Musik zur intermedialen Ästhetik bei Paulo C. Chagas. MuK 190/191. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, p. 101-52.

Chagas, Paulo C. 2012. “Der Pluralistische Raum: die Produktion des Studios für Elektronische Musik des WDR in den 90er Jahren. Eine Einführung und Dokumentation.” Teile I, II, III. Digital Composition: Von der Klangregie elektronischer Musik zur intermedialen Ästhetik bei Paulo C. Chagas. MuK 190/191. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, p. 45-100.

Chagas, Paulo C. 2012. “Der bodenlose Klang: Von ‘Elektronische Musik’ zur ‘Digital Composition’”. Digital Composition: Von der Klangregie elektronischer Musik zur intermedialen Ästhetik bei Paulo C. Chagas. MuK 190/191. Editors: H. U. Werner and P. C. Chagas. Siegen: Universität Siegen, p. 13-29.

Chagas, Paulo C. 2011. “Gilberto e Willy: Ética e Estética.” O Brasil dos Gilbertos. Notas sobre o pensamento (musical) brasileiro. Editors: H. Valente and R. Santhiago. São Paulo: Letra e Voz, p. 129-43.

Chagas, Paulo C. 2010. “Spectral Semiotics: Sound as Enacted Experience. A phenomenological Approach to Temporality in Sound and Music.” Before and After Music. Proceedings from the 10th International Congress of the International Project on Musical Signification. Acta Semiotica Fennica XXXVII. Editors: L. Navickaite-Martinelli. Vilnius; Helsinki: Lithuanian Academy of Music and Theatre; Umweb Publications, p. 117-26.

Chagas, Paulo C. 2009. “Pulsierende Knoten: Vom Studio für Elektronische Musik zu neuen Modellen musikalischer Kreativität.” Medien. Kreativität. Interdisziplinarität. MuK 176/177. Editors: H. U. Werner and R. Lankau. Siegen: Universität Siegen, p. 53-107.

Chagas, Paulo C. 2009. ”Linguagem e formas de vida: Wittgenstein e a compreensão musical.” Anais dos Encontros de Musicologia de Ribeirão Preto. 2003 – Linguagem & Linguagens. 2005 – Interfaces luso-afro-brasileiras. Editors: M. C. de Castro and R. R. Ricciardi. Ribeirão Preto: Funpec-Editora, p. 116-26.

Chagas, Paulo C. 2006. “Virtuality and Metadesign: Sound Art in the Age of Connectivity.” Music, Meaning, and Media. Acta Semiotica Fennica XXV. Approaches to Musical Semiotics 11. Editors: Erkki Pekkilä et al. Helsinki: International Semiotics Institute, p. 137-53.

Chagas, Paulo C. 2006. “Game and dialogue: Composing with machinery”. Music and the Arts. Acta Semiotica Fennica XXIII (Approaches to Musical Semiotics 10). Editors: Eero Tarasti. Helsinki: International Semiotics Institute, p. 157-70.

Chagas, Paulo C. 2004. “Klangraum als intertextuelle Situation. Gedanken über die Uraufführung von Visionsraum.” Wechselwirkung. Internationales Interaktionslabor Göttelborn. Editors: J. Birringer, et al. Quierschied-Göttelborn: IKS IndustrieKultur Saar, p. 21-23.

Chagas, Paulo C. 2003. ”Virtualität und Metadesign. Die Klangkunst im Zeitalter ihrer Vernetzbarkeit.” VirtuReal Soundscapes Teil 1: Variationen auf Virtual Audio. MuK 147/148. Editors: G. Schmedes, et al.  Siegen: Universität Siegen, p. 84-114.

Chagas, Paulo C. 2003. “Information and Polyphony: Spectral and temporal transformation in the motets of Josquin des Prez.” Musical Semiotics Revisited, Acta Semiotica Fennica XV. Approaches to Musical Semiotics 4. Editors: Eero Tarasti. Helsinki: International Semiotics Institute, p. 411-21.

Chagas, Paulo C. 2002. “Spiel und Dialog: das Komponieren mit Apparaten.” Elektroakustische Musik. Handbuch der Musik im 20. Jahrhundert Band 5. Editors: Elena Ungeheuer. Laaber: Laaber Verlag, p. 182-96.

Journal Articles

Chagas, Paulo C. 2016. “Mirrors of Melancholy: Lourenço on Music and Musical Understanding”. Revista Portuguesa de Musicologia (Portuguese Journal of Musicology). 34p. http://rpm-ns.pt/index.php/rpm/article/viewFile/286/404 [accessed November 18, 2019].

Chagas, Paulo C. 2015. “Mirror of Death”. Art Review 29, 51p. https://www.revista-art.com/mirror-of-death [accessed November 18, 2019].

Chagas, Paulo C. 2014. “Creativity with Apparatuses: from Chamber Music to Telematic Dialog”. Flusser Studies 17. 15p http://www.flusserstudies.net/sites/www.flusserstudies.net/files/media/attachments/paulo-chagas-creativity-with-apparatuses.pdf [accessed November 18, 2019].

Chagas, Paulo C. 2013. “Musical Imagination: Sound and Image in Telematic Dialogue.” Art Review 2. 13p http://www.revista-art.com/musical-imagination-sound-and-image-in-telematic-dialogue [accessed November 18, 2019].

Chagas, Paulo C. 2008. “Composition in Circular Sound Space: Migration 12-channel electronic music (1995-97).” Organised Sound 13.3, p. 189-98.

Chagas, Paulo C. 2008. “A Música de Câmara Telemática: A Metáfora de Flusser e o Universo da Música Eletroacústica”. Revista Ghrebh 11. 21p https://www.cisc.org.br/portal/jdownloads/Ghrebh/Ghrebh-%2011/05_chagas.pdf [accessed November 18, 2019].

Chagas, Paulo C. 2006. The Blindness Paradigm: the Invisibility and Visibility of the Body.” Contemporary Music Review 25.1/2, p. 119-30.

Chagas, Paulo C. 2005. “Polyphony and embodiment: a critical approach of the theory of autopoiesis.” Trans – Revista Transcultural de Musica: 9. 34p.
http://www.sibetrans.com/trans/article/179/polyphony-and-embodiment-a-critical-approach-to-the-theory-of-autopoiesis [accessed November 18, 2019].

Chagas, Paulo C. 2001. “Die Zukunftt des Elektronischen Studios: Die künstlerische Herausforderung.” MusikTexte 88, p. 17-19.

Chagas, Paulo C. 2000. “Paradoxien der Elektronischen Musik oder wozu braucht man das Elektronische Studio.” Mitteilungen DEGEM 38, p. 31-33.

Chagas, Paulo C. 2000. “Der Pluralistische Raum: die Produktion des Studios für Elektronische Musik des WDR in den 90er Jahren. Eine Einführung und Dokumentation. Teil III.” Mitteilungen DEGEM 37, p. 30-36.

Chagas, Paulo C. 2000. “Der Pluralistische Raum: die Produktion des Studios für Elektronische Musik des WDR in den 90er Jahren.  Eine Einführung und Dokumentation.Teil II.” Mitteilungen DEGEM 36, p. 44-51.

Chagas, Paulo C. 2000. “Der Pluralistische Raum: die Produktion des Studios für Elektronische Musik des WDR in den 90er Jahren.  Eine Einführung und Dokumentation. Teil I.” Mitteilungen DEGEM 35, p. 27-31.

Chagas, Paulo C. 1992. “Le MIDI et la musique électronique. Quelques remarques esthétiques et techniques.” Revue Informatique et Statistique dans les Sciences Humaines 28: 1-4, p. 15-28.

Chagas, Paulo C. 1992. “A Invenção do Jogo: ‘Santos Football Music’ de Gilberto Mendes.” Revista Música. Vol 3.1, p. 70-81.

Conferences and Symposia

Paulo C. Chagas. 2019. "Som e verdade: pesquisa interdisciplinar em som e composição musical". Anais do VIII Encontro de Musicologia de Ribeirão Preto [8th Meeting of Musicology of Ribeirão Preto]. University of São Paulo (USP), Ribeirão Preto, Music Department. 20p.

Chagas, Paulo C. 2018. “Som, Espaço e Afeto: Fenomenologia e Pscicoacústica. Notas Preliminares”. Anais do 14º Encontro Internacional de Música e Mídia: Compassos, passos, espaços. Os lugares da música. 12p. https://www.doity.com.br/anais/trabalhos-completos-14musimid/trabalho/82916 [accessed November 18, 2019].

Chagas, Paulo C. 2018. “Self, No-Self, and the Experience of the Living: An Enactive Approach of Sound, Space and Affect”. Proceedings of the XVIthInternational Congress on Musical Signification. Gheorghe Dima Academy of Music, Cluj-Napoca, Romania. 12p.

Chagas, Paulo C. 2016. “Migração, Melancolia e Identidade”. Anais do 12º Encontro Internacional de Música e Mídia: Viver sua música. 10p.

Chagas, Paulo C. 2016. “Revolt and Ambivalence: Music, Torture and Absurdity in the Digital Oratorio The Refrigerator.” Proceedings of the 12thInternational Symposium on Computer Music Multidisciplinary Research. Editors: M. Aramaki, R. Kornland-Martinet, S. Ystad. 253-269. 17p. http://www.ime.usp.br/%7Ecmmr2016/CMMR2016_proceedings.pdf [accessed November 18, 2019].

Chagas, Paulo C. 2014. “Tortura e Transcendência: Notas Preliminares sobre A Geladeira”. Anais do 10º Encontro Internacional de Música e Mídia: Liberdades políticas, liberdades poéticas. 20p. http://musimid.mus.br/wp-content/uploads/sites/4/2014/12/10encontro.pdf [accessed November 18, 2019].

Chagas, Paulo C. 2013. “Som, Linguagem e Significado Musical.” Anais do 9º Encontro de Música e Mídia, 31p. http://musimid.mus.br/9encontro/wp-content/uploads/2013/11/9musimid_chagas.pdf [accessed November 18, 2019].

Chagas, Paulo C. 2013. “A compreensão musical: Wittgenstein, ética e estética.” Anais do III Encontro Internacional de Teoria e Análise Musical. São Paulo: ECA-USP. 16p.

Chagas, Paulo C. 2013. “Wittgenstein and Musical Understanding: Self-Reference and Forms of Life.” E-Proceedings of the XIIth International Congress on Musical Signification. Editors: In M. Reybrouck, C. Maeder, A. Helbo and E. Tarasti. Louvain-la-Neuve: Université Catolique de Louvain, 2013. 57-63 [usb driver]. 11p.

Chagas, Paulo C. 2010. “Musical Imagination: Sound and Image in Telematic Dialogue.” Música de/para. Anais do 6º Encontro de Músic e Mídia. Editors: Editors: H. de A. Duarte and R. Santiago. São Paulo: Letra e Voz. [CD-ROM]. 13p.

Chagas, Paulo C. 2009. “Os nós pulsantes: do estúdio de música eletrônica aos modelos emergentes de criatividade musical.” E(s)téticas do Som: Textos e Debates. Anais do 5º Encontro de Músic e Mídia. Editors: H. de A. Duarte and R. Santiago. São Paulo: Realejo Livros e Edições. [CD-ROM]. 34p.

Chagas, Paulo C. 2008. “Gilberto e Willy: ética e estética.” O Brasil dos Gilbertos. Anais do 4º Encontro de Músic e Mídia. Editors: H. de A. Duarte. Santos: Realejo Livros e Edições. [CD-ROM]. 12p.

Chagas, Paulo C. 2007. “Podcast como Mídia de Criação.” Anais do 3º Encontro de Música e Mídia. Santos, Brazil, 2007 [CD-ROM]. 11p.

Chagas, Paulo C. 2007. “Polyphony and Technology in Interdisciplinary Composition.” 11th Brazilian Symposium on Computer Music. São Paulo: IME/ECA, 2007. 47-58.

Chagas, Paulo C. 2004. “Understanding Music Through Gesture and Interdisciplinarity.”
10th Doctoral and Post-doctoral Seminar on Musical Semiotics. Imatra, Finland. 10p.

Chagas, Paulo C. 2004. “Musical Gesture, Technology and Interdisciplinarity.” 7th Subtle Technologies Symposium. Toronto, Canada. 11p.

Chagas, Paulo C. 2003. “Linguagem e formas de vida. A questão da compreensão musical a partir de Wittgenstein.” 1st International Meeting of Musicology. Ribeirão Preto, Sao Paulo, Brazil. 09/04/2003. University of Sao Paulo, Ribeirão Preto. 10p.

Chagas, Paulo C. 2003. ”Gesture in Electroacoustic Music: Vocal, Instrumental and Technological.” International Conference: ‘Music and Gesture’. University of East Anglia, Norwich, U.K. 14p.

Chagas, Paulo C. 2003. ”La distinction entre médium et forme: une nouvelle approche de la sémiotique musicale.”  Proceedings of the Tenth Journées d’Informatique Musicale.  Montbéliard, France: École Nationale de Musique. 12p.

Chagas, Paulo C. 2003. ”Virtuality and Metadesign. The Sound Art in the Age of Connectivity.” Proceedings of the Ninth Biennial Symposium on Arts and Technology. New London, CT: Connecticut College, p. 24-35.

Chagas, Paulo C. 1995. ”Tradition und Technologie: ‘Aboio’. Ein Beitrag zur Integration der Vokaltechniken der traditionellen Musiken in der zeitgenössischen Musik.” International Symposium Musica Chorali 2000. Luxembourg: Institut Européen de Chant Choral, p. 7.

Articles in Books

Chagas, Paulo C. 2019. “Prefácio.” Os Quartetos de Cordas de Villa-Lobos: Forma e Função. Paulo de Tarso Sales. São Paulo: Edusp, p. 9-11.

Musicological Editions:

Chagas, Paulo C. 2011. Ogum – Suíte sobre temas negro-brasileiros (1929) chamber music by Luciano Gallet. São Paulo: Editora Criadores do Brasil. 40p. [Musicological revision of the original manuscript and first edition of the score].

Chagas, Paulo C. 2009. Dança Brasileira (1925) music for orchestra by Luciano Gallet. São Paulo: Editora Criadores do Brasil. 18p. large format [Musicological revision of the original manuscript and first edition of the score].

Chagas, Paulo C. 2007. Tango Batuque (1918) music for orchestra by Luciano Gallet. São Paulo: Editora Criadores do Brasil. 15p. large format [Musicological revision of the original manuscript and first edition of the score].

Chagas, Paulo C. 2006. Suíte Bucólica (1920) music for orchestra by Luciano Gallet. São Paulo: Editora Criadores do Brasil. 61p. large format [Musicological revision of the original manuscript and first edition of the score].

Chagas, Paulo C. 2006. Turuna: Suíte Brasileira (1925-26) chamber music (clarinet, violin, viola, percussion) by Luciano Gallet. São Paulo: Editora Criadores do Brasil. 34p. [Musicological revision of the original manuscript and first edition of the score]

Other Publications

Chagas, Paulo C. 2016. “Segeln im Meer der Kreativität: Gilberto Mendes (1922-2016)”. MusikTexte 148, p. 95-6.

Chagas, Paulo C. 2016. “Gilberto Mendes 1922-2016): Sailing in the Ocean of Creativity.” 2p.
http://musimid.blogspot.com/2016/01/gilberto-mendes-1922-2016-sailing-in.html [accessed November 18, 2019].

Chagas, Paulo C. 2013. “Notes on Artistic Autonomy”. Interaktionslabor.16p. http://www.interaktionslabor.de/lab13/index.htm [Interview-Dialogue with Johannes Birringer] [accessed August 1, 2013].

Chagas, Paulo C. 2009. “Die Naivität eines Kinds. Pousseur und die humanistischen Quellen der Kreativität.” MusikTexte 121, p. 63-65.

Chagas, Paulo C. 2008. “Corpo, Carne e Espírito: a digital oratorio.” Interaktionslabor. 6p. http://www.interaktionslabor.de/lab08/index.htm [Article about my own composition Corpo, Carne e Espírito [Body, Flesh and Spirit]] [accessed August 1, 2013].

Chagas, Paulo C. 2008. Music by Gallet, Mendelssohn-Bartholdy and Berlioz. 4p. [Program notes for the concert of the São Paulo Symphony State Orchestra (OSESP) at the Sala São Paulo, São Paulo, Brazil, December 6, 7, 8, 2008]

Book Reviews

Chagas, Paulo C. Rev. of “Guillaume Du Fay. Musik des 15. Jahrhunderts” by Peter Gülke. Forum Musikbibliothek 26.4 (2005): 443-5.

Chagas, Paulo C. Rev. of “Musiktheorie. Handbuch der Systematischen Musikwissenschaft; 2”. Ed. by Helga de la Motte-Haber, et al. Forum Musikbibliothek 26.4 (2005): 437-441.

Chagas, Paulo C. Rev. of “Leoninus musicus und der Magnus liber organi” by Rudolf Flotzinger. Forum Musikbibliothek 26.3 (2005): 326-9.

Chagas, Paulo C. Rev. of “Musikästhetik. Handbuch der Systematischen Musikwissenschaft; 1”. Ed by Helga de la Motte-Haber. Forum Musikbibliothek26.2 (2005): 226-9.

Chagas, Paulo C. “Handbuch der Musik im 20. Jahrhundert”. Revs. of “Klangkunst. Tönende Objekte und klingende Räume. Handbuch der Musik im 20. Jahrhundert; 12”. Ed. by Helga de la Motte-Habber; and “Musik multimedial – Filmmusik, Videoclip, Ferhsehen. Handbuch der Musik im 20. Jahrhundert; 11”. Ed. by Josef Kloppenburg; and “Elektroakustische Musik. Handbuch der Musik im 20. Jahrhundert; 5”. Ed. by Elena Ungeheuer; and “Musical. Das unterhaltende Genre. Handbuch der Musik im 20. Jahrhundert; 6”. Ed. by Armin Geraths, et al. Forum Musikbibliothek 24.3 (2003): 335-41.

Chagas, Paulo C. Rev. of “Signs of Music: A Guide to Musical Semiotics” by Eero Tarasti. Die Musikforschung 56 (2003): 472-4.

Chagas, Paulo C. “Musik und Bedeutung: die Entstehung  einer neuen Disziplin”. Rev. of “Signs of Music: A Guide to Musical Semiotics” by Eero Tarasti. Forum Musikbibliothek 24.1 (2003): 78-82.

Chagas, Paulo C. “Die Beobachtung des Klangs”. Rev. of “Die Lehre von den Tonempfindungen” by Hermann von Helmholtz. Forum Musikbibliothek24.1 (2003): 69-73.

Chagas, Paulo C. Rev. of “Signs of Music: A Guide to Musical Semiotics” by Eero Tarasti. Journal of Music and Meaning 1 (2003). http://www.musicandmeaning.net/issues/showArticle.php?artID=1.5

Chagas, Paulo C. Rev. of ”Composing Music with Computers” by Eduardo Reck Miranda. Forum Musikbibliothek 23.4 (2002): 535-539.

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