Luís Miguel da Luz Raimundo
He has studied at Gregorian Institute of Lisbon, where he completed a Piano degree (middle education). He holds a Degree in Composition (ESML), a bachelor’s in Musical Sciences (Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa – FCSH-UNL), and two postgraduates (part of the Master’s Degree in Musical Sciences and a Diploma of Advanced Studies in Musical Sciences (both by FCSH-UNL). He studied orchestral conducting with Jean-Sébastian Béreau, Jean Mark Burfin and José Pascual Vilaplana. Wrote several compositions (for mixed choir, orchestra, symphonic band and piano). He was also a Cultural Promoter from 2015 to 2019. He was mentor and Director of a music school at the Salesian School of Manique (Centro Musical Don Bosco – from 2002 to 2009). Throughout his career he has taught Music History, Analysis and Composition, Aural Education and Theory, having also worked with Choral Groups and String and Wind Orchestras. He was lecturer of Aural Education at the Escola Superior de Educação de Lisboa (2002-2003) and Music Research Methodology at Escola Superior de Música de Lisboa (2006-2008). Since 1999 he collaborates with Calouste Gulbenkian Foundation as program notes writer. From 2014 to 2019 he held a position as Director of a music school (Conservatório Silva Marques). At the moment he’s an investigator at CESEM – under a scholarship from Fundação das Ciências e Tecnologias – where he dedicates to studies on music from the second half of the 20th century.
Raimundo, Luís , “Para uma leitura dramatúrgica e estilística de Serrana de Alfredo Keil”, Revista Portuguesa de Musicologia. nº. 10, Lisboa, 2000, pp. 227-274;
Raimundo, Luís, “A Ópera Dona Branca”, Revista Glosas, nº. 2, Setembro 2010 – Alfredo Keil – Músico, poeta, pintor. pp. 20-22;
Raimundo, Luís, “Serrana – Alfredo Keil”, TNSC, Ministério da Cultura, pp. 38-43, Outubro 2002.
This research project intends to approach, from an analytical perspective, compositions by Peter Ruzicka, Georg Friedrich Haas and Krzysztof Penderecki. The investigation will mainly focus on the textural aspects present in the works of these authors, trying to highlight the aesthetic and technical similarities between them, particularly on the use of orchestral textures.
With this investigation, we intend to typify/categorize textures and create methodological models of analysis that allow the approach of compositions whose eminently textural/“sonoristic” content is contrary to the application of methodologies developed for compositions of diverse aesthetic or technical basis (tonal, modal or dodecaphonic) and that would be consistent with the musical logic present in the compositions to be addressed, which transcend concepts such as notes, rhythm, harmony or tempo (in the most traditional sense of the terms).