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MESHWORK AND PLACE-OF-CREATION: MUSIC COMPOSITION AND ANALYSIS ALONG LINES…
MESHWORK AND PLACE-OF-CREATION: MUSIC COMPOSITION AND ANALYSIS ALONG LINES.
[compositionality and...]
radical reciprocity
From...
Brian Ferneyhough: "It's very important to me that I learn enough about the desires of the things [materials] in themselves, that I can bend to their wishes or that I can subvert them in my own way [...] as long as I take seriously that particular constellation of contingencies."
Otto Laske and the designer/design reciprocity considered on his notion of 'holistic design' used as a basis to construct a scheme of "Compositional life cycle".
"I become you when I listen to Xenakis." (said Feldman to the latter)
...To:
Communication/interrelation between lines and conditioned by them.
Lines of corporality: singularities and trajectories of bodies.
Lines of temporality: Chronos and Aion.
Lines of territoriality: molar, molecular and -of-flight.
Parallels with the concept of Assemblage.
Neither a particular feature of
my music and the music that I propose...
Nor of contemporary music...
or even of any specific kind of music.
Radical reciprocity is there - be the agents
of a music-making aware of it or not; do they pay
more or less attention to it.
compositional analysis
BwO
The place is a collective of the moving traces of certain bodies.
Once the body is itself a collective of the moving traces of other bodies, substances, materials, so the place is also a body: a body which must be invented by an organism for him to live along and through it.
place-of-creation
"a set of practices"
"adjacent to the organism"
"continually in the process of building itself up"
thoughts, statements, theories — embodied in a music-making
sounds, moves, ideas, sensations --> articulated by discourse
Music composition and analysis:
two cogs of a musical machine
borders, cracks, fluxes
continuity/contiguity between them
Indiscernibility composition/analysis
likewise... virtual/actual, thought/action, content/expression, theory/practice
or... composition/performance, performance/fruition
and furthermore... indiscernibility composition/world
continuation and rupture in direction of their lines whenever they meet and choke.
machinic assemblages of bodies
(composer/tools/ideas/sounds/instruments/performers/audience)
collective assemblages of enunciation
(annotations/sketches/scores/thoughts/talks/
analysis/program notes)
a
music-making
with
the world
writing music is to build up a place-movement of more or less unstable portions of lines from the total meshwork of the world.
these portions are knots, and a place is collective of more or less stable knots - being each knot also already a place.
some of these lines are thrown by the composer
some by a performer
others by a composition tool (from a pencil to a notation or audio software)
they are typically related to the making
but also other kinds of things often throw their lines through this place-of-music-creation:
a dog, a movie, a performance, a recording, someone else, a fruit, a river, an event...
Thereafter, what concerns me
then about that?!
Not exactly creation, but analysis...
...and its statute within the area of music composition.
Which leads us to the idea of...
— in addition to how analysis can
in-trans-form music creation.
CONCEPTUAL LINES AND KNOTS
OF THE PRESENTATION
Paulo Rios Filho
UFMA/Brazil
pauloriosfilho@gmail.com