Entrevista a Jaime Oliver La Rosa (1979) por Aurelio Tello
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2024-06-27
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Universidad Nacional de Música
Resumen
Jaime Oliver La Rosa se acercó a la música por curiosidad infantil y la convirtió en refugio tras la muerte de su madre. Aunque en Perú no veía una carrera viable, una beca en California le permitió dedicarse a la música por computadora, llevando a un post-doctorado en Columbia y a enseñar en NYU. Optó por la música electrónica debido a la inaccesibilidad de formaciones instrumentales en Perú y la naturaleza anacrónica del repertorio europeo. Influenciado por artistas como Berio, Xenakis y Oliveros, y por peruanos como Bolaños y Valcárcel, exploró la música electrónica en vivo y colaboró con artistas visuales.
Creó instrumentos como MANO y el Tambor silencioso para reintegrar el cuerpo y el gesto en la música electrónica. Reflexiona sobre la identidad en su música, influenciada por su contexto sin buscar explícitamente una "peruanidad". Destaca la importancia de la inteligencia artificial en la creación musical y la relación entre la composición y la música popular o el arte sonoro. Valora las contribuciones de músicos electrónicos peruanos anteriores y considera que las barreras entre géneros musicales se están difuminando, lo cual es interesante para el futuro de la música electrónica.
Jaime Oliver La Rosa came to music out of childhood curiosity and made it a refuge after the death of his mother. Although he did not see a viable career in Peru, a scholarship in California allowed him to pursue computer music, leading to a post-doc at Columbia and teaching at NYU. He opted for electronic music due to the inaccessibility of instrumental formations in Peru and the anachronistic nature of the European repertoire. Influenced by artists such as Berio, Xenakis and Oliveros, and by Peruvians such as Bolaños and Valcárcel, he explored live electronic music and collaborated with visual artists. He created instruments such as MANO and the Silent Drum to reintegrate the body and gesture into electronic music. He reflects on identity in his music, influenced by its context without explicitly seeking a "Peruvianness." He highlights the importance of artificial intelligence in musical creation and the relationship between composition and popular music or sound art. He values ??the contributions of previous Peruvian electronic musicians and believes that the barriers between musical genres are blurring, which is interesting for the future of electronic music.
Jaime Oliver La Rosa came to music out of childhood curiosity and made it a refuge after the death of his mother. Although he did not see a viable career in Peru, a scholarship in California allowed him to pursue computer music, leading to a post-doc at Columbia and teaching at NYU. He opted for electronic music due to the inaccessibility of instrumental formations in Peru and the anachronistic nature of the European repertoire. Influenced by artists such as Berio, Xenakis and Oliveros, and by Peruvians such as Bolaños and Valcárcel, he explored live electronic music and collaborated with visual artists. He created instruments such as MANO and the Silent Drum to reintegrate the body and gesture into electronic music. He reflects on identity in his music, influenced by its context without explicitly seeking a "Peruvianness." He highlights the importance of artificial intelligence in musical creation and the relationship between composition and popular music or sound art. He values ??the contributions of previous Peruvian electronic musicians and believes that the barriers between musical genres are blurring, which is interesting for the future of electronic music.
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Palabras clave
Dosier, Entrevistas, Jaime Oliver La Rosa, Dossier, Interviews, Jaime Oliver La Rosa
Citación
Tello Malpartida, A. (2024). Entrevista a Jaime Oliver La Rosa (1979) por Aurelio Tello. Antec: Revista Peruana De Investigación Musical, 8(1), 93-100. https://doi.org/10.62230/antec.v8i1.234
