{"id":28,"date":"2020-05-12T07:40:18","date_gmt":"2020-05-12T07:40:18","guid":{"rendered":"http:\/\/www.mauriziopuxeddu.com\/muz\/?page_id=28"},"modified":"2020-06-04T08:16:06","modified_gmt":"2020-06-04T08:16:06","slug":"ricerca","status":"publish","type":"page","link":"http:\/\/www.mauriziopuxeddu.com\/muz\/ricerca\/","title":{"rendered":"MUSIC RESEARCH"},"content":{"rendered":"
THE NEW LAUNEDDAS<\/h5>\n

Starting from the analysis of the peculiarities that most distinguish the launeddas, but considering this instrument as any other musical instrument of cultured extraction (with which in the past certain exploratory paths have already been completed), Maurizio Puxeddu for years has dedicated himself to experimentation and music research for new and unprecedented possibilities for using launeddas.<\/p>\n

Listen and download with Spotify and others musical platforms ><\/a><\/p>\n

\"\"<\/a> \"\"<\/a><\/p>\n

BUY in digital audio format ><\/a><\/em><\/p>\n

\n
\n
\n
\"\" \"\"<\/div>\n<\/div>\n<\/div>\n<\/div>\n

THE NEW LAUNEDDAS Nuovi suoni per launeddas<\/a>
\nVersione digitale \u2013 Copyright\u00a0\u00a9<\/b>\u00a0Maurizio Puxeddu (1999)<\/a><\/p>\n

In the catalog of sounds, THE NEW LAUNEDDAS – New sounds for launeddas, offers us a phase of his musical journey. His musical works seek the use of the island instrument to say things never said; ventures into sound areas never explored by the instrument, makes them his own by projecting the listener into an incredible varied and multicolored world of blown, beaten, aspirated, pinched, multiphonic, hinted sounds …<\/p>\n

Maurizio Puxeddu explored, dug, went into the island instrument, squeezed, crushed, comminuted it. His idea is to be able to use launeddas in artistic contexts unrelated to tradition. So let’s not expect only traditional sounds from his launeddas.<\/p>\n

We listen without prejudice to his poetics of the other sound that accompanies us between the delicate hissed and blown sounds and the intrusive and aggressive sounds of the stone-sounds. While loving him, the artist gets rid of the mythical traditional sound. It shows us how you can also play with launeddas: listening to Donald Duck it’s impossible not to smile hearing Donald Duck’s voice modulated through the launeddas.<\/p>\n

BUY the book + CD + digital audio tracks<\/a><\/em><\/p>\n

\"\" \"\"<\/p>\n

THE NEW LAUNEDDAS Nuovi suoni per launeddas<\/a>
\nBook: Catalogo dei suoni + CD Allegato (omaggio) \/ Lingua: Italiano, Inglese<\/a>
\nCopyright\u00a0\u00a9<\/b>\u00a0Maurizio Puxeddu (1999)<\/a><\/p>\n

\n
THE NEW LAUNEDDAS \u2013 The project<\/h5>\n

The initiative was conceived for the urgent need to bring to the knowledge of a large audience the result of a long research and experimentation, absolutely original and innovative, carried out by Maurizio Puxeddu, relating to the new and unprecedented possibilities of use, both musical constructive, launeddas.<\/p>\n

Maurizio Puxeddu dedicated himself to experimentation and research with the launeddas starting from the analysis of the peculiarities that distinguish them but considering them as any other musical instrument of cultured extraction with which in the past certain exploratory paths have already been completed. From this research, a multitude of additional sound possibilities have sprung up, in addition to the formidable ones found in tradition, which project this multi-millennial instrument into paths that are never open. Maurizio Puxeddu explored, dug, went into the tool, squeezed, crushed, comminuted it.<\/p>\n

His idea is to be able to use launeddas even in artistic contexts unrelated to tradition.<\/p>\n

With the contribution and in collaboration with:<\/p>\n

Regione Autonoma della Sardegna
\nComune di Cagliari
\nConservatorio di Musica di Cagliari “G.P. da Palestrina”
\nEXMA’
\nI.S.O.L.A.
\nUNITRE ORISTANO
\nCONSORZIO PER LA PUBBLICA LETTURA “S.Satta”<\/p>\n

\n
\n
\n
\"\"<\/div>\n<\/div>\n
\n
<\/div>\n
His approach to Sardinian music and traditional instruments took place in 1985 thanks to a composition work for the theater. It was a recital of poems whose authors and themes were all Sardinian. In order to set the music and soundtrack live, the need arose to produce sounds of Sardinia through musical instruments and island phonic devices. From that moment on, the musician began his journey of rediscovery of Sardinian instruments and recovery of construction techniques and use of instruments which he then used to create soundtracks for the Sardinian ethnic theater.<\/div>\n<\/div>\n<\/div>\n<\/div>\n

In 1990, he used the launeddas in the soundtrack for the theatrical show “Sa Matta”, taken from a text by Antonio Garau (directed by Enzo Parodo – production of Teatro Studio), and subsequently began to modify the instrument so that it could produce other notes besides traditional ones.<\/p>\n

In 1992, for the theatrical show in Sardinian language “Lintu e pintu” with Mario Medas (directed by Gianluca Medas – production of Sons of Art Medas), where a melancholy musical atmosphere was needed which was realized through the sound of a punt’e organu modified in its construction, or lowering the third and seventh degrees of the scale by a semitone. So the launeddas, which in the tradition always play in “major”, played in “minor”. Another contribution of his towards a different use of launeddas can be heard in two audio tracks by the Sardinian singer-songwriter Piero Marras taken from the CD “TUMBU”: “B’at una femina” and in “Sa ‘oghe’ e Maria”, a song dedicated to the figure of Maria Carta.<\/p>\n

Continuing on this exploratory path, he has continued over the years to experiment and research the production of numerous unusual sounds for the island instrument, a job that then grew to develop into the THE NEW LAUNEDDAS project.<\/p>\n

\n
NUORO<\/h5>\n

CONFERENZA \u2013 THE NEW LAUNEDDAS
\nMercoled\u00ec 15 dicembre 1999
\nCollaborazione: Consorzio per la Pubblica Lettura \u201cS.Satta
\nSpazio: Auditorium Biblioteca \u201cS.Satta\u201d, p.zza Asproni 8<\/p>\n

Relatori ed argomenti:
\nFrancesco Pintore \u2013 Rapporti tra mercato e musica etnica
\nGiacomo Serreli \u2013 Contaminazioni musicali in Sardegna
\nMaurizio Puxeddu \u2013 The new launeddas \u2013 Nuovi suoni per launeddas<\/p>\n

SASSARI<\/h5>\n

CONFERENZA \u2013 THE NEW LAUNEDDAS
\nGioved\u00ec 16 dicembre 1999
\nCollaborazione: I.S.O.L.A.
\nSpazio: Padiglione dell\u2019artigianato c\/o Bottega ISOLA, viale Mancini<\/p>\n

Relatori ed argomenti:
\nAlberto Sanna \u2013 Da strumento popolare a strumento colto
\nLeonardo Sole \u2013 La musica delle parole
\nMaurizio Puxeddu \u2013 The new launeddas \u2013 Nuovi suoni per launeddas<\/p>\n

ORISTANO<\/h5>\n

CONFERENZA \u2013 THE NEW LAUNEDDAS
\nVenerd\u00ec 17 dicembre 1999
\nCollaborazione: UNITRE
\nSpazio: Sala conferenze UNITRE, via XX Settembre 14<\/p>\n

Relatori ed argomenti:
\nMaria Dolores Picciau \u2013 Contaminazioni e identit\u00e0
\nAntonio Trudu \u2013 Tecniche nuove per strumenti antichi
\nMaurizio Puxeddu \u2013 The new launeddas \u2013 Nuovi suoni per launeddas<\/p>\n

CAGLIARI<\/h5>\n

SEMINARIO \u2013 NUOVI SUONI PER LAUNEDDAS
\nMarted\u00ec 21 e mercoled\u00ec 22 dicembre 1999
\nOrari: dalle 10.30 alle 12.30 e dalle 16.30 alle 18.30,
\nCollaborazione: Conservatorio di Musica \u201cP.L. da Palestrina\u201d di Cagliari
\nSpazio: Aula Magna del Conservatorio<\/p>\n

Docente: Maurizio Puxeddu
\nMaestro collaboratore: Adriano Orr\u00f9<\/p>\n

CAGLIARI<\/h5>\n

MOSTRA \u2013 INVENZIONI SONORE
\n28-29-30-31 dicembre 1999
\nCollaborazione: EXMA\u2019
\nSpazio: Sala della Torretta dell\u2019EXMA\u2019<\/p>\n

Artisti:
\nMaria Grazia Oppo \u2013 Installazione
\nMaurizio Puxeddu \u2013 Sculture sonore, strumenti innovativi, progetti e prototipi per nuove launeddas<\/p>\n

Testo critico di Maria Dolores Picciau
\nAllestimento: Mario Olivieri<\/p>\n","protected":false},"excerpt":{"rendered":"

THE NEW LAUNEDDAS Starting from the analysis of the peculiarities that most distinguish the launeddas, but considering this instrument as any other musical instrument of cultured extraction (with which in the past certain exploratory paths have already been completed), Maurizio Puxeddu for years has dedicated himself to experimentation and music research for new and unprecedented … <\/p>\n

Continue reading “MUSIC RESEARCH”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"translation":{"provider":"WPGlobus","version":"2.12.0","language":"gb","enabled_languages":["gb","it"],"languages":{"gb":{"title":true,"content":true,"excerpt":false},"it":{"title":true,"content":true,"excerpt":false}}},"_links":{"self":[{"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/pages\/28"}],"collection":[{"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/comments?post=28"}],"version-history":[{"count":17,"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/pages\/28\/revisions"}],"predecessor-version":[{"id":568,"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/pages\/28\/revisions\/568"}],"wp:attachment":[{"href":"http:\/\/www.mauriziopuxeddu.com\/muz\/wp-json\/wp\/v2\/media?parent=28"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}