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VOLUTAS Fotografías de Iván Rodero Millán para ser proyectadas durante la interpretación de Titán Tango de Keyna Wilkins

This work proposes, by means of the analysis of six of his works, the revaluation of the scenic in the trajectory of the music composer Ramón Barce (Madrid, 1928-2008), a founding member of the Zaj group and author of three important creations for the same ?Traslaciones (Translations), Estudio de Impulsos (Impulse Studies) and Abgrund, Hintergrund-and three others already outside of that group: Coral Hablado (Spoken Chorale), Oleada (Wave) and Hacia mañana, hacia hoy (Towards tomorrow, towards today). It is proved with all this that the theatrical in Barce, so far a facet little or nothing valued, however it is essential to understand a representative part of the artistic catalogue of this significant member of the Spanish avant-gardes of the second half of the twentieth century.

Músicos callejeros

This work proposes, by means of the biographical and bibliographical study, the revaluation of the scenic in the trajectory of the music composer Ramón Barce (Madrid, 1928-2008). Both for the theatrical -whether lyrical or not- as well as through the phonetic composition and the art of Action, the scenic is fundamental for this also prestigious professor and critic. Barce was a young actor and performer known in the Madrid house theatre, as well as a scholar of the lyric theatre and zarzuela editor. It is proved with all this that the theatrical in Barce, so far a facet little or nothing valued, however it is essential to understand the character, formation and development of this significant member of the Spanish avant-gardes of the second half of the twentieth century.

Following Christine Esclapez’ research of another musicology, we take the study of the notion of silence of André Souris as an opportunity to think about the specificity of musicological expression. The links between music, musicologist and their audience create a movement of speech, which in turn defines a space of expression. The distance between theoretical speech and its practical application, or the distance between the speaker and the auditor are observable signs of the passing into speech of music, considered as an entity which can’t perish, awaiting an extension. André Souris’ choice is nothing more, and nothing less, than an attempt to bring a conterminous world into existence, creating a new territory on the frontiers between what is said and what is listened to.