- Mexico
Gabriel Pareyon
Centro Nacional de las Artes, Systematic Musicology, Faculty Member
- Composer and musicologist, PhD, University of Helsinki (2006–11), with a dissertation about self-similarity in music ... moreComposer and musicologist, PhD, University of Helsinki (2006–11), with a dissertation about self-similarity in music (both semiotic and mathematical approaches). Master and bachelor in music (composition and music theory) from the Royal Conservatoire, The Hague (2000–04). He studied at the Composers’ Workshop of the National Conservatoire of Mexico (1995–98), with Mario Lavista, and at the Music School of the University of Guadalajara (1989–92).Currently he teaches at the Post-Graduate Programme, Faculty of Music, UNAM. Since 1995 he is researcher at the National Center for Music Research, Documentation and Information (CENIDIM, Mexico City), where he founded in 2012, in cooperation with UNAM, the Seminar on Music and Science. He organized the first International Congress on Music and Mathematics (2014) and was editor-in-chief of the book The Musical-Mathematical Mind: Patterns and Transformations (Springer). He is also co-founder editor of MusMat Brazilian Journal of Music and Mathematics, published by the Federal University of Rio de Janeiro (UFRJ).edit
Research Interests: Physics and Humanities
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Research Interests: Humanities and Art
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... Autores: Gabriel Pareyón; Localización: Heterofonía: revista de investigación musical, ISSN 0018-1137, Nº. ... secundaria sobre Alonso Vélez Sarmiento, Martín Casillas, Narciso Sort de Sanz, José Mariano Elízaga, Santiago Herrera,... more
... Autores: Gabriel Pareyón; Localización: Heterofonía: revista de investigación musical, ISSN 0018-1137, Nº. ... secundaria sobre Alonso Vélez Sarmiento, Martín Casillas, Narciso Sort de Sanz, José Mariano Elízaga, Santiago Herrera, Cruz Balcázar, Diego Altamirano y otros ...
Research Interests: Humanities and Art
First printed edition, 1996; first electronic edition, 2016Biographical study, interviews, musical description, catalogue, bibliography pictures and other information about José F. Vásquez, composer, music teacher and conductor founder of... more
First printed edition, 1996; first electronic edition, 2016Biographical study, interviews, musical description, catalogue, bibliography pictures and other information about José F. Vásquez, composer, music teacher and conductor founder of the former National University Symphonic Orchestra of Mexico, today OFUNAM (Mexico City)
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This research and practice project studies the way in which some aspects of linguistic order are also found in music’s order. Whereas some aspects of order and organisation are attributed to music because of their psychophysical... more
This research and practice project studies the way in which some aspects of linguistic order are also found in music’s order. Whereas some aspects of order and organisation are attributed to music because of their psychophysical integration, other aspects seem to be more related to the configuration of music in memory and experience (i.e. individual memory and memory-in-society processes). These foundations are also shared by speech and visual symbolizing. Given that order in music is commonly referred and/or justified by verbal or visual language, cases of analogy and metaphor are discussed, within the context of music composition and analysis. This project also explores the role of figuration and referentiality in some examples of geometry associa-ted with musical ideas, in order to analyse how such mediums are intertwined with speech and musical elaboration. Keywords
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Revista/Journal (Dir. Jose Antonio Robles Cahero). Contenido: JOSE ANTONIO ROBLES CAHERO, Presentacion, pag. 3. ARTICULOS: LA CATEDRA JESUS C. ROMERO. Introduccion, pag. 9. ROBERT STEVENSON, Aportaciones del doctor Jesus C. Romero a la... more
Revista/Journal (Dir. Jose Antonio Robles Cahero). Contenido: JOSE ANTONIO ROBLES CAHERO, Presentacion, pag. 3. ARTICULOS: LA CATEDRA JESUS C. ROMERO. Introduccion, pag. 9. ROBERT STEVENSON, Aportaciones del doctor Jesus C. Romero a la musicologia mexicana, pag. 11. ROBERT STEVENSON, Reflexiones sobre el concepto de musica precortesiana en Mexico, pag. 25. AUREA MAYA Y EUGENIO DELGADO, El Archivo Musical de Cenobio Paniagua: nuevas posibilidades de investigacion a partir de su descubrimiento, pag. 38. AURELIO TELLO, Perspectivas de la investigacion musical, pag. 42. JOSE ANTONIO ROBLES CAHERO, Una labor de medio siglo en la investigacion musical: entrevista con Robert Stevenson, pag. 48. ADRIANA PEREZ SOTO Y RICARDO MIRANDA, Robert Stevenson y la musica mexicana: bibliografia selecta, pag. 64. BERNAL JIMENEZ, A CUARENTA ANOS DE SU MUERTE: Introduccion, pag. 73. RICARDO MIRANDA, Carteles o Miguel Bernal en el Monte de los Olivos, pag. 74. LORENA DIAZ NUNEZ Y EUGENIO BERNAL, El paisaj...
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Revista/Journal (Dir. Jose Antonio Robles Cahero). Contenido: JOSE ANTONIO ROBLES CAHERO, Presentacion, pag. 3. ARTICULOS: JOHN KOEGEL, Nuevas fuentes musicales para danza, teatro y salon de la Nueva Espana, pag. 9. RICARDO MIRANDA,... more
Revista/Journal (Dir. Jose Antonio Robles Cahero). Contenido: JOSE ANTONIO ROBLES CAHERO, Presentacion, pag. 3. ARTICULOS: JOHN KOEGEL, Nuevas fuentes musicales para danza, teatro y salon de la Nueva Espana, pag. 9. RICARDO MIRANDA, Reflexiones sobre el clasicismo en Mexico (1770-1840), pag. 39. CRAIGH H. RUSSELL, El manuscrito Eleanor Hague. Una muestra de la vida musical en el Mexico del siglo XVIII, pag. 51. GABRIEL PAREYON, Sumario historico de la musica en la Catedral de Guadalajara, pag. 99. ROSA VIRGINIA SANCHEZ, El trovo: una singular y casi desconocida forma poetica del huapango huasteco, pag. 125. MUSICA: VICENTE ORTIZ DE ZARATE, 1. Duo para el decendimiento de nuestro amavilisimo redentor Jesus (transcripcion de J. A. Robles Cahero), pag. 139; 2. Ejemplos musicales para violin del manuscrito Eleanor Hague, pag. 149. DOCUMENTOS: JOSE ANTONIO, Introduccion, pag. 155. 1. Dos cartas: A. de Antonio Alonso de Teran a Joaquin Colla (26.09.1807); B. Respuesta de Colla (26.09.1807...
Research Interests: Humanities and Art
Contenido: 1) Miranda, Ricardo. Sor Juana y la musica; 2) Pareyon, Gabriel. Manuel de Jesus Arechiga. La musica en Guadalajara y su religiosidad inherente; 3) Shelley, Percy Bysshe. Poema; 4) Carmona, Gloria. Gerhardt Muench; 5) Hurtado,... more
Contenido: 1) Miranda, Ricardo. Sor Juana y la musica; 2) Pareyon, Gabriel. Manuel de Jesus Arechiga. La musica en Guadalajara y su religiosidad inherente; 3) Shelley, Percy Bysshe. Poema; 4) Carmona, Gloria. Gerhardt Muench; 5) Hurtado, Eduardo. Dos poemas; 6) Tello, Aurelio. El cuarteto de arcos de don Candelario; 7) Brennan, Juan Arturo. Entrevista a Ronald Zollman; 8) Alatorre, Antonio. Una investigacion policial sobre La cucaracha; 9) Cortez, Luis Jaime. Joaquin Gutierrez Heras: la busqueda de lo irremplazable; 10) Miranda, Ricardo. Mariana Villanueva: Canto obscuro para violin solo; 11) Villanueva, Mariana. La musica, una puerta abierta al misterio; 12) Alvarez del Castillo, Fernando. John Forsman. (Contiene otros textos no incluidos en la descripcion).
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It is a fact that the ancient peoples of the Americas had, for many centuries, robust mathematical and musical cultures. Although much of these cultures was not clearly recorded in writing by the first European settlers, this does not... more
It is a fact that the ancient peoples of the Americas had, for many centuries, robust mathematical and musical cultures. Although much of these cultures was not clearly recorded in writing by the first European settlers, this does not mean that their existence is insignificant, and much less, that they have been lost forever. Due to the importance of publishing studies on music and mathematics from a Latin American perspective, the following text, initiatory on the subject, proposes three key questions to promote a discussion from anthropological and historical foundations for the indigenous relationships of music and mathematics, and with the intention of motivating more questions, or formulating them in a better way, in further research.
This lecture proposes that language as a whole, belongs to the group of what we recognize as “natural fractals”; the consequences of this involve a new definition of language, as well as the construction of new tools for its... more
This lecture proposes that language as a whole, belongs to the group of what we recognize as “natural fractals”; the consequences of this involve a new definition of language, as well as the construction of new tools for its investigation. Although the concept of fractal was used for the first time in 2000 as an application to sociolinguistics by Irvine and Gall, the association of the fractal theory to linguistics has been rather poor. This one seems to be an attempt for a general frame of language investigation, coming directly from the fractal principles.
Abstract: This lecture proposes that language as a whole, belongs to the group of what we recognize as “natural fractals”; the consequences of this involve a new definition of language, as well as the construction of new tools for its... more
Abstract: This lecture proposes that language as a whole, belongs to the group of what we recognize as “natural fractals”; the consequences of this involve a new definition of language, as well as the construction of new tools for its investigation. Although the concept of fractal was used for the first time in 2000 as an application to sociolinguistics by Irvine and Gall, the association of the fractal theory to linguistics has been rather poor. This one seems to be an attempt for a general frame of language investigation, coming directly from the fractal principles. 1
... Aber auch andere zeitgenössische Komponisten, wie Manuel Enriquez (19261994), verkündeten ein ähnliches ... wie in dem Stück Ritual für Orchester, in dem Enriquez seine Fähigkeiten ... Victor Rasgado (1959) und Juan Trigos, Schüler... more
... Aber auch andere zeitgenössische Komponisten, wie Manuel Enriquez (19261994), verkündeten ein ähnliches ... wie in dem Stück Ritual für Orchester, in dem Enriquez seine Fähigkeiten ... Victor Rasgado (1959) und Juan Trigos, Schüler von Donatoni, haben verschiede Formen ...
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... I am particularly grateful to Professor Marc Leman (Department of Musicology, University of Ghent) and Professor Mark Reybrouck (Department of Musicology, Catholic University of Leuven), for the revision they generously carried out to... more
... I am particularly grateful to Professor Marc Leman (Department of Musicology, University of Ghent) and Professor Mark Reybrouck (Department of Musicology, Catholic University of Leuven), for the revision they generously carried out to the final draft of this dissertation. ...
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This research and practice project studies the way in which some aspects of linguistic order are also found in music’s order. Whereas some aspects of order and organisation are attributed to music because of their psychophysical... more
This research and practice project studies the way in which some aspects of linguistic order are also found in music’s order. Whereas some aspects of order and organisation are attributed to music because of their psychophysical integration, other aspects seem to be more related to the configuration of music in memory and experience (i.e. individual memory and memoryin-society processes). These foundations are also shared by speech and visual symbolizing. Given that order in music is commonly referred and/or justified by verbal or visual language, cases of analogy and metaphor are discussed, within the context of music composition and analysis. This project also explores the role of figuration and referentiality in some examples of geometry associated with musical ideas, in order to analyse how such mediums are intertwined with speech and musical elaboration.
Research Interests: Psychology and Art
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This contribution introduces the concept of musical harmony as a geometric, physical mirror of human biologic proportionality. Although this idea is rather ubiquitous in many aspects and epochs of music theory, mathematical direct... more
This contribution introduces the concept of musical harmony as a geometric, physical mirror of human biologic proportionality. Although this idea is rather ubiquitous in many aspects and epochs of music theory, mathematical direct modelling is relatively a novelty within the field of dynamical systems. Furthermore, a hypothesis of atomic-molecular harmonicity is provided in order to explain how biologic proportionality is physically biased to perform harmonic patterns eventually codified by culture. This hypothesis is grounded on the topological properties of carbon, and its mapping and embedding within the characteristic geometry of music; from the graphene-Tonnetz analogy, to the map of musical harmony using the Arnold tongues analogy. The topological features of carbon are, then, conceived as crucially influential for the rising of human language and music, and for the development of an associated Euclidean intuition.
A counterpoint theory for the whole continuum of the octave is obtained from Mazzola’s model via extended counterpoint symmetries, and some of its properties are discussed.
Idiophone instruments are classified through different methods, ranging from the Hornbostel–Sachs system of musical instrument classification, to time series organized according to features of frequency spectra and time span. We propose... more
Idiophone instruments are classified through different methods, ranging from the Hornbostel–Sachs system of musical instrument classification, to time series organized according to features of frequency spectra and time span. We propose an alternative method for analyzing and classifying idiophones according to their timbral complexity, measuring timbral-body continuum and phase-synchronization degree. In order to simplify our exposition, we choose the teponaztli as a model of wooden idiophone, because of its structural unicity and its potential complexity through extended musical performance (e.g. through the instrument’s individual or group timbral experimentation). We start exposing organological and cultural topics on the teponaztli, and then we discuss its harmonic and musical implications. Finally we explain our experimental development, and discuss the implications for musicological research and eventual new musical output.
... la sección áurea y la serie de números primos como herramientas de distribución, contraste y excitación/inhibición de los hechos musicales. En esa partitura, como en otras obras del serialismo integral, conceptos como “carácter ...
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... En 2001 el musicólogo Steffen Voss encontró en ese archivo la música original, casi completa, del Motezuma de Vivaldi. ... Tampoco deja de ser raro que la primera ópera romántica mexicana,Reynaldo y Elina (1839), de Manuel... more
... En 2001 el musicólogo Steffen Voss encontró en ese archivo la música original, casi completa, del Motezuma de Vivaldi. ... Tampoco deja de ser raro que la primera ópera romántica mexicana,Reynaldo y Elina (1839), de Manuel Covarrubias, se ubique en la conquista del Perú ...
... compositores de la nueva generación, principalmente en Antonio Navarro, Austreberto Chaires y Pedro Barboza. ... En 1974 ingresó a la Escuela Superior de Guitarra Manuel López Ramos; luego ... Participó en cursos de armonía moderna... more
... compositores de la nueva generación, principalmente en Antonio Navarro, Austreberto Chaires y Pedro Barboza. ... En 1974 ingresó a la Escuela Superior de Guitarra Manuel López Ramos; luego ... Participó en cursos de armonía moderna con Mario Romero y César de la Cerda ...
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... Aber auch andere zeitgenössische Komponisten, wie Manuel Enriquez (19261994), verkündeten ein ähnliches ... wie in dem Stück Ritual für Orchester, in dem Enriquez seine Fähigkeiten ... Victor Rasgado (1959) und Juan Trigos, Schüler... more
... Aber auch andere zeitgenössische Komponisten, wie Manuel Enriquez (19261994), verkündeten ein ähnliches ... wie in dem Stück Ritual für Orchester, in dem Enriquez seine Fähigkeiten ... Victor Rasgado (1959) und Juan Trigos, Schüler von Donatoni, haben verschiede Formen ...
... combined with ecological diversity. After all, intersemiotic translation of culture and nature is a feature of all musical traditions. ... Kaneko, H. (1987). Fractal Feature and Texture Analysis, IEICE Transactions, 170(D):964972.... more
... combined with ecological diversity. After all, intersemiotic translation of culture and nature is a feature of all musical traditions. ... Kaneko, H. (1987). Fractal Feature and Texture Analysis, IEICE Transactions, 170(D):964972. Lidov, D. and J. Gabura (1973). ...