In the growing upheaval in the field of multimedia composition, numerous practical and theoretical discourses have emerged that approach musical composition with the observation that sound alone is no longer sufficient to express musical ideas. The myriad compositional materials and forms used to explore musical ideas range from microcontrollers, YouTube, sound installations, performance strategies, VR, everyday objects, AI, and an ever-growing list that composers, performers, and audiences confront.
My research project is concerned with the systematized practice and theory of composing works conceived as a cycle in which multimedia transformation processes are emphasized. I compose a cycle of works, magnifying an identifiable characteristic feature of an initial composition, and articulate the work through various multimedia possibilities. I understand these repetitions as a system of difference through repetition that consolidates a continuous state in the state of flux.
The recurring orchid and wasp in the writings of Deleuze and Guattari illustrate richly interconnected concepts - rhizome, lines of flight, multiplicity, becoming, deterritorialization, among others - that I employ in my artistic practice as a fundamental part of the creative process. My concept of multimedia composition relates to this double figure and its associated concepts as the multiple ways in which media relate to each other in unexpected ways and set processes in motion.
Research questions that arise are: How can I develop new approaches to musical composition through an aesthetic of change, in the form of a cycle of works that differentiate themselves through the use of various media? What strategies can I come up with to create these differentiating pieces? What happens to the idea when it is actualized through a different multimedia configuration?
First supervisor: Univ. Prof. Carola Bauckholt, ABPU
Second supervisor: Univ. Prof. Dr. Tasos Zembylas, mdw
Jorge Gomez constantly reinvents himself as a composer. His work meanders through composition, sound art, performance, music theatre, and the exploration of the resulting interactions. Recurring themes of his work are appropriation, perspective, duality, narrative theory, improvisation, and everyday life.
Gomez studied composition in Monterrey (UANL, Bachelor), and music technology in Mexico City (UNAM, Master) with Ricardo Martínez and Roberto Morales, and completed a Master’s in composition at the Anton Bruckner Private University with Carola Bauckholt. From 2013 to 2016 he was university professor at the Autonomous University of Nuevo León (UANL) and at the Technological Institute of Monterrey (ITESM) in Monterrey, Mexico.
He received scholarships from the Composer Center of Nuevo Leon (2007, 2010, and 2012-13), from the Postgraduate Department of UNAM (2011-2012), from the Mexican Center for Music and Sound Art (2010), and a scholarship for his Master’s in Composition in Linz from FONCA-CONACYT. His composition Anamnesis for solo violin won first prize as an international composition at the International XI New Music Festival 2014 in Mexico.
Gomez’s Music has been performed by Ensemble PHACE, Ensemble Recherche, Vertixe Sonora, Phoenix, Oerknal! Liminar, the Schlagquartett Köln, Toyen Fil øg Klafferi and the Norwegian Cornett and Sackbuts in concerts and at international festivals such as Wien Modern, Biennale für Neue Musik und Architektur in Basel (Switzerland), Konsertserien Periferien (Oslo, Norway), Festival Internacional Cervantino, (Mexico), Correspondencias Sonoras (Spain), Delian Academy for New Music (Greece), Ars Electronica, and Leicht über Linz (Austria).