Estilhaço 1 and 2: Conversations Between Sound and Image in the Context of a Solo Percussion Concert Fernando Rocha 1,2(&) and Eli Stine 2 1 Federal University of Minas Gerais (UFMG), Av. Antônio Carlos, 6627, Pampulha, Belo Horizonte, MG 31270-901, Brazil fernandorocha@ufmg.br 2 McIntire Department of Music, University of Virginia (UVA), 112 Cabell Dr, Charlottesville, VA 22904, USA ems5te@virginia.edu Abstract. This paper discusses the pieces Estilhaço 1 and 2, for percussion, live electronics, and interactive video. The conception of the pieces (including artistic goal and metaphor used), the context in which they were created, their formal structures and their relationship, the technologies used to create both their audio and visual components, and the relationships between the sound and corresponding images are discussed. Keywords: Interactive music Á Interactive video Á Percussion music Á Visual music Á Hyper-instruments Á Hyper-kalimba 1 Introduction Estilhaço 1 and 2 were created as part of a project undertaken by percussionist and composer Fernando Rocha called: ‘The concert as a work of art: A holistic approach to the creation and performance of a full length solo percussion concert’. The goal of this project was to create a full-length concert for solo percussion and electronics which includes video and other interactive technologies. The concert was conceived as an integrated performance, one which includes individual pieces but which is presented as a connected whole. The project will contribute to an auto-ethnographic study consid- ering how we program contemporary music and how we can consider the trajectory of a concert as a whole, rather than simply putting a series of pieces together. Estilhaço1 and 2 were written by Rocha to open and close this concert. Estilhaço 1 and 2 are two related works that can be presented as individual pieces or as a set (preferably with one or more pieces in between them). Despite their very different sound palettes, the two pieces are conceptually quite similar. They both explore the idea of creating long resonances from short notes and extracting short notes from long resonances. The forms of the two pieces are generated by exploring and combining these two layers of sounds (short and long). The electronic part provides a structure over which the performer is free to improvise. Estilhaço 1 also exploits the melodic potential of the kalimba. The two works dialogue with videos created by Eli Stine. In the first, the video is created in real time, following the per- former’s sounds and gestures. In the second, the same video is projected and used as a guide for © Springer International Publishing AG 2017 M. Aramaki et al. (Eds.): CMMR 2016, LNCS 10525, pp. 247–255, 2017. DOI: 10.1007/978-3-319-67738-5_15