ARRANZ, Ángel: Otro Punto de Vista Analítico sobre el acorde de Tristán, vía Estudio nº 10 para piano de Claude Debussy [online]. Madrid: Sul Ponticello, II época, n. 21, abr. 2011. Disponible en World Wide Web: . ISSN: 1697-6886
Como reciente colaborador en la revista on-line Sul Ponticello, ésta publica hoy, día de Viernes Santo -la fecha no podría ser más wagneriana- un artículo sobre una serie de estudios concluyentes que versan sobre el acorde de Tristán del preludio de la ópera Tristán e Isolda de Richard Wagner, y su posterior apropiación por Claude Debussy. Inicié estos estudios en 2004, retomando los mismos de manera intermitente hasta la fecha. Estos estudios vienen a demostrar la naturaleza geométrica del acorde de Tristán, el cual conforma el núcleo de un agregado en forma de cruz. Esta peculiar disposición es consecuencia de una estrategia compositiva que utiliza la armonía como vehículo –medio- expresivo, más que como finalidad.
Lex van den Broek from the Technical Department of the Institute of Sonology – Royal Conservatory of The Hague has specifically created a new device in order to assist some requirements of the composer Ángel Arranz. The device consists in a re-shaping and re-functionality of a conventional guitar volume pedal, by removing the pre-existent circuitry and applying a new one, based on Ipson Lab technology developed by Lex.
Indeed, this is a special event for sonologists, musicologists, composers and in general for lovers of electronic music. Two interviews with Paul Berg and Kees Tazelaar repectively have been published by the composer and musicologist Ángel Arranz. These interviews were realized during 2009 within the framework of the Institute of Sonology of The Hague.
The first interview covers one singular route of one of the pioneers on computer music. Paul Berg teaches at the Institute of Sonology computer music and algorithmic composition. This interview explores a personal path from the origin of computer programming applied to electronic music towards the most recent computational environments. This knowledge crystallized in AC Toolbox, a computer program on algorithmic composition designed by him. The text describes Paul Berg’s experience through his own words, which makes this document even more invaluable. A certain amount of synchronous subjects are unfolded step-to-step as a sort of algorithm, metaphorically speaking, from the seventies until now.
We would like to announce the release of the website of the composer Ángel Arranz.
Ángel Arranz  is a Spanish composer who lives and works in The Netherlands as an associate researcher at the Institute of Sonology of The Hague. His music explores hybridization between acoustical instruments and electronics, spatiality in several plans of the musical realization and multi-instrumental assemblage. As a sort of mental territories, his music explores basically the utilization of time as a constructional matter through applied mathematics. He has developed an interesting algorithmic composition environment based on the utilization of waveforms [also named ‘seeds’], which work as controllers of the musical parameters, being used in turn to control the field where instruments are written. Seeds control the smallest aspects of the composition as well as the most general structures.