The emancipation of referentiality through the use of microsounds and electronicsin the music of Luigi NonoProceedings of Korean Electro-Acoustic Music Society's 2014 Annual Conference (KEAMSAC2014)
“No desalinho triste de minhas emoções confusas”A musical composition for piano and live-electronics Dissertations – State University of New York at Buffalo, ProQuest
Webern durch Stockhausen – a estética da Momentform aplicada ao Opus 11/3 SIMPEMUS 6 | Simpósio de Pesquisa em Música da UFPR | 2013
O compositor planeja, a música ri… reflexões sobre intuição e razão na criação musical [rev. 2020]Capítulo de livro “Outros Palavras sobre Música” (2020)
Ampliado do original publicado nos Anais do VIII Fórum de Pesquisa Científica em Arte 2012
Impasses no uso de estruturas microtonais na composição eletroacústica Revista Opus
Criação musical colaborativa: o processo de escrita e performance de Melancoli[r]apara violão solo XXVI Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música
Compor de ouvido: processos colaborativos e escuta engajada em Luigi Nono 
Revista Música Hodie
Musings on the Democratic Potential of Fixed-Media electroacoustic music Proceedings of the Electroacoustic Music Studies Network Conference, Florence (Italy), June 20-23, 2018
Revisitando o sintetizador analógico como ambiente de experimentação e aprendizado 
Síntese Sonora & Sintetizadores Analógicos.
Uma breve introdução ao mundo dos sintetizadores analógicos controlados por voltagem
BiA: a digital library for music and acoustics PdCon16~, 5th International Pure Data Convention
An interview with Brian Ferneyhough Search Yearbook Volume 1
Investigando procedimentos poéticos e estruturais em “Prologue” de Gérard Grisey Revista Música Hodie
O violão quimérico: obras não-idiossincráticas Anais do VI Simpósio Acadêmico de Violão da Embap, 2012
O impacto dos sintetizadores no processo composicional Revista Opus
Apontamentos sobre os recursos idiomáticos da flauta transversal relativos àstécnicas estendidas Revista Opus
Instrumentos eletroacústicos de tecla e seu uso na música microtonal Revista Opus
Mapping out the origins of electroacoustic music studios in Brazil 
Computer Music Journal (soon...)
Thoughts on notational practices in Electroacoustic Music performance Sonic Ideas
Uma aproximação aos sistemas de afinação de Harry Partch e Ben Johnston Musica Theorica / Tema
Uma entrevista com Brian Ferneyhough Revista do Conservatório de Música UFPel
You can access all my written papers on RESEARCH GATE and ACADEMIA.EDU:
He concentrated his research on writing music for ensemble and computer, resulting in works for live-electronics, acousmatics, as well as with computer-assisted-composition software. During his student years, he had the opportunity to participate in different workshops/summer courses with great composers that deeply contributed to develop his aesthetic and poetics, such as Roger Reynolds, Matthias Pintscher, Helmut Lachenmann, Steve Reich, Hilda Paredes, Brian Ferneyhough, Philippe Manoury, Charles Wuorinen, Murray Schaefer, Chaya Czernowin, Georges Aperghis, Wolfgang Rihm, Manos Tsangaris, Isabel Mundry, Klaus Lang, Jon Appleton, and many more.
As an academic and artist, Dr. Ribeiro has received several Prizes and Grants, such as the Funarte Composition Prize (2016 and 2012), the Presidential Fellowship at SUNY Buffalo (2008-2011), the Graduate Study Award and Fellowship Master Level - School of Music Nominee (University of Victoria, Canada, 2007), the NE/BAM Brazilian Composer's Competition (finalist, Netherlands), and selected as a composer for diverse festivals, such as the ExperimentalStudio des SWR matrix13 (Germany, 2013) and at the Goethe-Institut Buenos Aires, Bienal de Munich/Festival Internacional de Novo Teatro Musical (Argentina, 2015). His music has been performed in South America, North America and Europe, such as June in Buffalo (USA), Matrix10 ExperimentalStudio (Germany), Bartók Festival (Hungary), Going North (England, Canada), SiMN (Brazil), Bienal Música Hoje (Brazil), Internationale Ferienkurse für Neue Musik Darmstadt (Germany), Banff Center (Canada), VI Festival Contemporâneo Pelotas (Brazil), Ignite! (Canada), Goethe Institut Porto Alegre (Brazil), and performed by artists such as Tsilumos Ensemble (Canada), the New York New Music Ensemble (USA), Luciane Cardassi (Canada), Norbbotten Neo (Sweden), THReNSeMBle (Hungary), Catarina Domenici (Brazil), Ralf Ehlers / Arditti Quartet (UK), Jack Quartet (USA), Bozzini Quartet (Canada), Jean Kopperud (USA), Aventa Ensemble (Canada), Nieuw Ensemble (Netherlands), Magnus Anderson, Pascal Gallois, and Rohan de Saram.
Dr. Ribeiro was recently granted a Post-doctoral fellowship by the Alexander von Humboldt Stiftung (AvH) under the supervision of Dr. Ming Tsao (Hochschule für Musik, Theater und Medien Hannover, Germany). He is also part of the Universidade Estadual do Paraná faculty (Brazil), teaching courses on Composition, Electroacoustic Music, and Musical Acoustics, and part-time instructor at the Graduate Studies Program of the Universidade Federal do Paraná (Brazil). He is also coordinator of the LaMuSA (Laboratory of Music, Sonology, and Audio), a laboratory dedicated to research of music and technology, and director of the new music research group Núcleo Música Nova. As an academic, he is editor-in-chief of the Vortex Music Journal (ISSN 2317-9937) – an open-access journal dedicated to diverse music topics –, director of the SiMN (International Symposium of New Music), and member of the Ensemble Móbile, a group dedicated to new music performance in Brazil.
Born in Curitiba, Brazil, Felipe de Almeida Ribeiro (1980) is a composer of instrumental and electroacoustic music. He began studying composition in 2002 at the Universidade Federal do Paraná (Brazil) with composer Rodolfo Coelho de Souza. After writing compositional studies for instruments and for computer, he began a master's program in 2006 under the guidance of Dániel Péter Biró at the University of Victoria (Canada). Still in Victoria, British Columbia, he studied electronic music in diverse courses with radio-drum performer Andrew Schloss. During his masters, he had also the chance to work with American composer Gordon Mumma, and in 2008 moved to Buffalo NY in order to start a PhD at the State University of New York at Buffalo (USA) with Cort Lippe.
FELIPE DE ALMEIDA RIBEIRO
Entre o vestígio e a bruma (2021)Cello Duo & Electronics
grés de Furnas / Furnas III (2020-2021)8-channels acousmatic (ZIP file); Binaural recording for web/CD (WAVE file)
3rd movement of FURNAS cycle.
É preciso dizer o que não se compreende numa língua que ainda menos se entende (2015)Tape
El otro tigre (2013)Saxophone, piano, and percussion
Cordel (2019)Violin, Viola, Cello, Double Bass, Piano
Furnas I (2012; rev. 2021)Alto flute and resonant piano (version B: with live-electronics)
1st movement of FURNAS cycle.
7 Haiku (2015)For mixed wind ensemble
Stultifera navis (2018)Guitar and Tape
Das ilusões que nunca nos enganam ao nos mentirem sempre (2010)Violoncello and live-electronics
Quintanares (2008)Saxophone trio
Unruhe (2018)Percussion duo and tape
Desassossego latente (2010)Speaking pianist
You can access the audio content on SoundCloud:
Alhures (2014)Sax, Percussion, Piano, Guitar
Micrômegas (2018)Percussion and live-electronics
A transcendência da escassez (2010)Alto flute, bass clarinet, piano, percussion, violin, and cello