Search

The article focuses on the aesthetic and epistemological analysis of a piece by the composer Sebastián Jatz, written exclusively with words, which tensioned, in 2011, the discourses and practices in the field of written music production of Chilean experimental music. The research examines the potency of the work's writing, constituted by a type of verbal notation that, by dismissing a descriptive functionality referred to sound materials, prescribes actions that state some conditions of possibility allowing us to think of a type of listening that could be deployed as a question about the contingency of the place of its realization. For this, a dialogue is articulated between music and philosophy, whose purpose is to question and invigorate those concepts, as well as the own ideas of the author of the piece regarding its multiple possibilities. [ABSTRACT FROM AUTHOR]

Noise is a complex category that has been used to describe instances of disturbance and disruption in technical vocabulary and in many artistic languages. In music, and more precisely, in sound art, noise has been imbued with specific significations that operate as aesthetical signifiers that convey meaning even beyond its intensity of volume. In this article, the theoretical aspects of noise are articulated through the analysis of concerning discourse around the transformations of the concept of sound, which ultimately resulted in the designation of a genre in itself - noise. Furthermore, it is through the enhancement of a 'sonic turn' that the notion of listening as a generative aesthetic practice has referred to the body as the main instance of meaning construction in relation to both time and space. [ABSTRACT FROM AUTHOR]

Three Discontinuous Movements by Rose Bob (2018) was the result of artistic research motivated by the ultra-conceptual art practiced in the 1960s. The piece for piano and live electronics was inspired in chapter 23 of the novel Rayuela by Julio Cortázar, published in 1963. The sound material was adapted from Antinomies I, by Rogério Duprat, composed in 1962 and rewritten in 1966. The methodology employed in this research was the construction of a musical work from textual indications and diagrams. We hypothesize that this composition would lead to a discussion about its probable formal structure. This text also seeks to investigate the simultaneous emergence of projects that, in different artistic segments, articulated and proposed joint actions in a period in which the political eruption and the growth of the media implied profound changes in the mechanisms of the public scene and the creation of images cultural. [ABSTRACT FROM AUTHOR]

Este artículo describe la experiencia en INsono, una instalación sonora interactiva y un taller creado por un grupo de músicos para la 6? edición del Festival Big Bang en Lisboa, Portugal. Se presentan los hallazgos a lo largo de una narración que se desarrolla a través del análisis e interpretaciones de entrevistas con los músicos y la comisaria del Festival, las notas de campo tomadas durante la creación y la presentación de INsono así como entrevistas grupales con los niños sobre sus experiencias vividas durante el taller. En la descripción del proceso que llevó a la creación de la instalación sonora final, se exploró por una parte las principales preocupaciones e ideas de los músicos y la comisaria del Festival, incidiendo en conceptos como la educación, la infancia, la música y el arte; por otra parte, se ampliaron con las perspectivas de los niños que participaron en el taller acerca de su experiencia con INsono. Es de esperar que las conclusiones sugieran un debate en el que podamos repensar las potencialidades de la música experimental en contextos de aprendizaje tanto formales como no formales; además, podría conducir también al examen de las dinámicas, estrategias y herramientas que se utilizan en contextos no formales, siendo estos elementos que ayuden a la reflexión sobre enfoques pedagógicos en el aula, enriqueciendo las experiencias musicales y artísticas de los niños. [ABSTRACT FROM AUTHOR]

This article proposes a discussion about the uses of silences and extended durations in works of composers associated with the German publisher Edition Wandelweiser. For this purpose, we present analysis of three works issued between 1994 and 2001: Klavierstück 2, by Jürg Frey; First Music for Marcia Hafif, by Antoine Beuger; and Space, by Michael Pisaro. With these analyses, we aim to reveal the different ways through which the composers are able to establish connections between these two main concepts, central in the chosen works, using highly contrasting forms of musical notation and structuring. Moreover, we introduce a reflection on the experience of time and silence that emerges from the interaction between the listener and these works. Therefore, this article seeks to contribute with the experimental music field through the disclosure and discussion of a musical production that has, throughout the last 26 years, consistently explored such relevant concepts. [ABSTRACT FROM AUTHOR]

This paper presents remarks in the form of text about Repetitivo e Barulhento, an albun, audiovisual work and performance created by Luciano Zanatta and Ricardo de Carli. The authors are members of the Research Group on Sound Creation of UFRGS and Medula - collective of sound experimentation. Technical and conceptual aspects of the creative process and memorial reports from the authors are presented in the form of a discourse that alternates between first and third person. Repetitivo e Barulhento dialogue with the fields of popular music and noise from a perspective of experimental music. The text presented here is not meant to be an external commentary on the work to which it refers and rather is an additional layer in the composition, thus following the principles of thinking while doing that characterize artistic research as a research modality. [ABSTRACT FROM AUTHOR]

In this article we report moments of the creative production of the group Obra Aberta, based in Campinas-SP and dedicated to experimental music and improvisation, in which the performers direct their listening practice based on consolidated proposals in this field. The purpose of this article is to clarify how listening, as part of the cycle of creative process, influenced the way the group plays and creates music. Such directions in listening are based on the concepts of reduced listening by Pierre Schaeffer, deep listening by Pauline Oliveros, and the idea of virtual movement of sounds by José Augusto Mannis, which were studied and trained through improvisation and listening exercises, as well through the performance of improvised pieces of music. The results are discussed based on José Augusto Mannis' concepts concerning the creative process, whose main idea is that of a process that occurs through the continuous interaction between the instances of perception, analysis and synthesis. [ABSTRACT FROM AUTHOR]

The paper reflects on some contemporary productions labeled as Sound Art and created by artists as diverse as Christian Marclay, Anri Sala, Aki Onda, Anders Lauge Meldgaard etc. The aim here is to make an effort of understanding of such proposals, trying to understand -- from direct confrontation with the works analyzed -- how contemporary art continues in the dissolution of categories and hierarchies inaugurated by the composer, poet and philosopher John Cage. Some historiographical expressions -- especially postmodernism, post-medium and post-production -- used to define the contemporary artistic practice, are discussed in parallel. [ABSTRACT FROM AUTHOR]

We will approach the relationship between the piece for solo voice Fedra (2014) by Brazilian performer/ artist Lilian Campesato and the lamentations practice in funeral rites and female characters in Greek tragedy searching for the discourses and signs of emotion and the role women play in these. Considering authors such as Bourdieu, Perrot, Dominici, Del Priori, McClary, Cusick, Bonini-Baraldi, Tolbert, Mazo, Rosemberg, Nietzsche and others, to support our argument we assume that Fedra and ritual laments have semantic and sound correlations. We analyzed the music based on the study of sonograms in order to identify how the vocal materials of Fedra provide affective expressions. We noted that the laments and the Fedra music have strong similarities even though we recognize that the composer assumes and chooses some strategies that reflect a singular stance with regard to the arrangement of sounds and meaning. [ABSTRACT FROM AUTHOR]

The present article describes the phenomena of experimental electronic music from Portugal, which is founded on concepts originating from the vanguards of the XX century. Starting from the crisis, which affected the 1900's music, this short study presents the evolution of the noise connotation and the development of experimental electronic music. That, being always a cultural phenomena linked to alternative culture is also present in Portugal. For the current article were chosen three musical projects: structura, Eletrólise and M -Pex, which can be considered representative for the topic of the article. [ABSTRACT FROM AUTHOR]