(Florianop\u00f3lis\u00a01979)<\/p>\n
Flora Holderbaum is a violinist, composer and voice performer. She works on intermedial processes between music and poetry, with emphasis in Sound Poetry and its intersections with Experimental Music and \u00e1udio technology. Bachelor in Visual Arts-Painting and Engraving (2006) and Music-Violin (2014), both at UDESC-Santa Catarina; Master in Music-Theory Aesthetics and Creation, at UFPR-Paran\u00e1 (2014). Since 2015, she integrates\u00a0<\/span>NuSom-Research Center on Sonology\u00a0<\/i><\/span>at the University of S\u00e3o Paulo, where she is currently a doctoral researcher under the supervision of Dr. Fernando Iazzetta. Flora is co-creator of\u00a0<\/span>Sonora-Women, music and feminisms<\/i><\/span>, a group which investigates women participation in the musical context. She is also a co-editor of the eletrosacustic culture magazine\u00a0<\/span>linda<\/i><\/span>, in which she keeps a column about Sound Poetry .<\/span><\/span><\/span><\/p>\n \/\/ \/\/<\/span> http:\/\/lattes.cnpq.br\/8864220630031373<\/span><\/p>\n
\n<\/span><\/span>I explore the intersection of poetry with sound: the voice, speech, my violin, everyday sounds and electronically manipulated sounds. I Also outline the gesture of voice as a sound machine and thus, a poetic utterance full of layers: the voices of meaning, sound, internal state, the speech act, the scene …. I do poetry since childhood and my background is in visual arts and violin. I have a master’s degree from UFPR in what we call\u00a0musical composition<\/i>, but I prefer to understand it in terms of\u00a0creative processes<\/i>\u00a0in music in the fusion with other languages and disciplines such as poetry, performance, and visual arts. Currently, I am\u00a0a doctoral researcher\u00a0in Sonology at the NuSom-Center for Research-USP, under the supervision of Fernando Iazzetta. I imagine my drifts as sound objects, installations, sound and visual poems, pathways, non-places. It is this research that I conceive and try to, in becoming a life-art, sound-word, object-no-object, body-situation, voice instrument … with many etceteras. There are many questions, at the introduction, intermezzo or post-prelude: What word is that? What sound is this? What space the word occupies in sound? What time sound moves in the word? What voice is that? What voices are these? How to shake the poem in sound and vice verse see-listen: Mus-verse.<\/span><\/span><\/p>\n
\nhttp:\/\/www.revistavortex.com\/<\/span><\/p>\n