He is currently working towards a PhD in Composition at the
University of Birmingham, is an active member of BEAST (Birmingham
Electroacoustic Sound Theatre) and is working on the development of
Iannis Xenakis stochastic synthesis.
His extensive curriculum includes a Master’s Degree in Sonology (with
distinction), received in 2006 from the Royal Conservatory at The
Hague, studying with Paul Berg and Kees Tazelaar. In 2004, he also
received a Master’s Degree in Composition from the Conservatory of
Rotterdam, studying with Klaas de Vries and René Uijlenhoet. He has a
Bachelor’s Degree in Composition from the Musical Studies and
Research Center (CIEM, Mexico). His music has been performed all over
the world: Europe, North America, South America and Oceania.
Sergio Luque has published more than twenty musical pieces for
acoustical instruments, computers and combinations of both.
TecnoNucleo publishes three works from Luque, all of them for
computer: "’Sex, Drugs and Rock ’n Roll’ was never meant to be like
this", "frío" and "ssst".
The sounds of "’Sex, Drugs and Rock’n Roll’ was never meant to be
like this", were created using an extension of Iannis Xenakis’
dynamic stochastic synthesis technique that Luque is currently
developing. Stochastic sytnthesis is an approach to microsound
synthesis that uses probability distributions to manipulate
individual digital samples.
The structure of this piece is articulated by juxtaposing three
different families of sounds (in order to create sections). These
clear and abrupt cuts between materials were done intuitively; some
of them happen between similar sounds: to give the false impression
of movement; the rest of the cuts occur between very contrasting
sounds: unexpected changes that try to affect the listener’s
perception of reality.
frío (the Spanish word for ’cold’) was composed using stochastic
processes and is a musical expression of the polysemic meaning of
this word: low-temperature bodies, indifference, the chilling effects
of cold colors, among other meanings. Phil Thomson, from the now
defunct Centibel netlabel, defined this work as "a synthetic
meditation on timbre and stasis".
ssst was created by the opposition of two principles applied to
the sense of energy and activity, these principles are: retaining
and releasing. When retaining, the character of the piece is quiet
and with individual gestures; when releasing, the energy is freed and
mass movements arise. Thomson said about this piece: "a digital
clamour, conjuring images of a virtual ensemble performing in an
slowly exploding concert hall haunted by microsonic ghosts".