MESHWORK AND PLACE-OF-CREATION: MUSIC COMPOSITION AND ANALYSIS ALONG LINES…
MESHWORK AND PLACE-OF-CREATION: MUSIC COMPOSITION AND ANALYSIS ALONG LINES.
Parallels with the concept of Assemblage.
Lines of corporality: singularities and trajectories of bodies.
Lines of temporality: Chronos and Aion.
Lines of territoriality: molar, molecular and -of-flight.
Communication/interrelation between lines and conditioned by them.
"I become you when I listen to Xenakis." (said Feldman to the latter)
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".
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.
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.
"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
continuation and rupture in direction of their lines whenever they meet and choke.
borders, cracks, fluxes
continuity/contiguity between them
and furthermore... indiscernibility composition/world
or... composition/performance, performance/fruition
likewise... virtual/actual, thought/action, content/expression, theory/practice
machinic assemblages of bodies
collective assemblages of enunciation
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