Evolving New Music Style

Since I started exploring musical ideas at the keyboard, I have always featured elements of medieval music in my work, including church modes, parallel fifths, hockets, and medieval melodies and rhythms. I continue to use all of these elements in my compositional practice.

During my undergraduate program in composition, as I gradually acquired more experience with contemporary music, I started to fuse the two music worlds in my pieces, using especially the language of electroacoustic/tape music to communicate this fusion. Some of the results of these combinations can be heard in pieces such as:

*Electroacoustic Mass (2011):
Kyrie

Gloria

Benedictus


*Pipoca Espacial (2010)
(trans.: Space Popcorn)


*Flutuando pela Penumbra (2010)
(trans.: Floating Through the Penumbra)
http://www.ufrgs.br/musicaeletronica/anexos/radio/quadro2.php?autor=Maria%20Eduarda%20Mendes%20Martins&musica=Eletr%F4nica,Flutuando%20pela%20Penumbra

During my Masters degree, when I started to think about unconscious hearing and the emotional impact that music awakens in the listener, I began to believe that the harmonic series is the essential trigger of sensations related to music. Some examples of this exploitation of emotional impact can be found in pieces such as:


* The Little Survivor from Warsaw (2014-2015):
https://www.youtube.com/watch?v=kEl4bMB2DMM


*Prologue of an Unfinished Story (2013-2014):
https://www.youtube.com/watch?v=GUdcM4Fav7k

This closer contact with the harmonic series led me to combine–mostly–medieval melodies and spectral music elements in a layered manner. The reason being for such combination, is me believing that even the simplest, most basic melodies contain an abundance of spectral events. Some examples of this fusion can be seen in:

*Stella Splendens (2015):

*Musicianship Melody (2015):