Transformation Through Sound: Matias Homar on Whistling Folklore, Interactive Expression, and “Hac Carcer Edo”
- WOMCO
- Jul 1
- 3 min read
Matias Homar's composition "Hac Carcer Edo" was awarded the Platinum Prize and the Remarkable Creativity Special Prize in the Chamber Music category of the 2025 Season 2 Carl Reinecke International Music Competition.
Biography
Matías Homar is a multifaceted guitarist, composer, sound designer, and interactive instrument maker from Salta, Argentina. Known for his innovative approach to music, he has released albums with the Imaymana Duo (2017-2021) and his experimental electronic music project Ge[r]minaciones (2022). Matías has collaborated with diverse ensembles, ranging from modern tango (Cosmo Ensemble) and children’s music (La Malagua Fosforescente) to rock (Mondongo Soho) and experimental music (Academic Complex). His works have been performed internationally by renowned groups such as the Hanatsu Miroir Ensemble (France), Arditti Quartet (England), and Signal Ensemble (US).
Live performance has been the cornerstone of Matías’ career. Over the past four years, he has focused on creating performances of his own pieces for electric guitar with live sound processing, exploring the interaction between the guitar, the body, and sound transformation through his custom interactive devices. Works like Glitch/Bending Sound (created in collaboration with dancer an0th3r.l0p3z), Vidala, Landó, and Huayno exemplify this approach, blending sound and visuals generated by his interactive glove and shoe. These pieces have been presented in a variety of settings, including concert halls, dance performances, site-specific events, and experimental music venues.
Involved in sound technology research, Matías designs and builds custom MIDI devices, including the award-winning GEP Contraption (MIDI Innovation Award 2024) and the interactive GEPedal. His recent projects include a solo harpsichord piece with live processing effects and an interactive glove for a dancer, set to debut in Ireland during the 2024 Open Futures art residency. Last March 20th the piece was rearranged for 16 speakers, performed at the DME festival, Lisbon, Portugal.
Could you share the inspiration behind "Hac Carcer Edo" and the message you hope to convey through it?
This piece was created as a continuation of a set of works inspired by two Argentinian composers, Ariel Ramírez and Gustavo Leguizamón. The title is a made-up name, combining elements from one of the pieces in Misa Criolla and a traditional Argentine folkloric dance, the chacarera. At the end of the piece, the performers whistle a fragment of the melody from one of Leguizamón’s compositions. Like most pieces in this series, Hac Carcer Edo explores the idea of transformation after the struggles we face as human beings. Another important inspiration is this quote from Daisaku Ikeda:
“The eyes of a poet discover in each person a unique and irreplaceable humanity. While arrogant intellect seeks to control and manipulate the world, the poetic spirit bows with reverence before its mysteries.”
What was your creative process like while composing "Hac Carcer Edo"? How did you approach the structure and dynamics of the piece?
The creative process followed another piece I wrote for a saxophone duet, which was also inspired by a folkloric dance. In that sense, the structure of the piece is shaped by the overall idea of interludes, stanzas, and chorus sections drawn from the dance. For this piece in particular, the structure does not follow the exact order or formal layout of those sections, but rather conveys a general idea. At the same time, the rhythmic and expressive materials are derived from the polyrhythms of the chacarera. As a result, the instrumental layers highlight different expressive or rhythmic elements of the dance.
Would you like to share your experience participating in our competition and anyone you'd like to thank?
Participating in the Carl Reinecke International Music Competition was a great experience. Submitting all the materials was very simple, and the instructions were clear. I want to thank the Slee Sinfonietta performers who recorded this piece—without their feedback and great performance, it would have been difficult for this music to be appreciated and known by others.
