Joao Pedro Oliveira

João Pedro Oliveira studied organ performance and composition at the Gregorian Institute of Lisbon and architecture at the Fine Arts School of Lisbon. In 1985 he moved to the United States as a Fulbright scholar with a fellowship from Gulbenkian Foundation where he completed two Master's Degree in Music and a Doctorate in Composition at the University of New York at Stony Brook.

Main Prizes:
1st Prize in Alea III Competition (USA) - 1996
1st Prize in Bourges Electroacoustic Music Competition (France) - 2002
1st Prize in Earplay competition (USA) - 2003
2nd Prize in S. Paulo Electroacoustic Music Competition (Brasil) - 2005
Honorable Mention in Bourges Electroacoustic Music Competition (France) - 2005
Selected work in Tribune Internacionale de Musique Electroacoustique (Italy) - 2005
1st Prize in Musica Nova competition (Czech Republic)- 2005
1st Prize in Metamorphoses competition (Belgium) - 2006
1st Prize in Bourges Electroacoustic Music Competition (France) - 2007
1st Prize in Roma Soundtrack Competition (Italy) - 2007
1st Prize in Yamaha-Visiones Sonoras Competition (Mexico) - 2007
1st Prize in Musica Nova competition (Czech Republic) - 2007

Most of his works have been commissioned by portuguese and foreign groups and foundations.
He is Senior Professor of composition and electronic music, and Director of the Electronic Music Studio at the University of Aveiro, in Portugal.

From Joao Pedro Oliveira

Kyti

$30.00

Kyti is based in constant dialogs between the five percussion groups, sometimes in distant opposition, and more often in very close imitative gestures. These musical gestures are mainly based on micro-canons that continuously overlap, and create a polyphony that allows the sound to displace itself in space with its own rhythm, in constant dialog with the physical rhythm of the percussive attacks.

Kyti is based in constant dialogs between the five percussion groups, sometimes in distant opposition, and more often in very close imitative gestures. These musical gestures are mainly based on micro-canons that continuously overlap, and create a polyphony that allows the sound to displace itself in space with its own rhythm, in constant dialog with the physical rhythm of the percussive attacks.