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This paper will present the core role of improvisation groups in the late Sixties / beginning of the Seventies in the process of building the new status of music material in the post-serial context. Analysing some “Gruppo di Improvvisazione Nuova Consonanza” (GINC) and “New Phonic Art” recordings, specific interaction models will be detected and discussed as phenomena of a larger creative process of exploring new music resources. Sound material limitations, exclusion of specific “motivic” treatment, using prepared instruments and avoiding all “traditional music” references are all elements of a specific music aesthetic shared by composers/improvisers involved in this experience. A particular attitude to the written trace for the improvisation can also be detected. Both groups carried the increasing freedom from the “dictatorship” of the score and the great involvement of the interpreter in the musical shaping of the piece to its logical extreme: no score at all was used. But there exist the so-called “esercizi (exercises)”. What is the status of those activities? Are they a kind of a “pre-compositional” process of studying the material possibilities? the interaction dynamics? the formal shaping? the mutual listening process?
The fact that the members were not only performers, but in first line composers gives to the absence of a score a very specific meaning. Here Lydia Goehr’s categories of improvisation extempore or impromptu can represent a starting point, but a deep understanding of the structure of the improvisations, the limited choice of the sound material, the position of individual actions are also highly linked to the composers' experience with written music. The individual poetic expressed trough written works by Franco Evangelisti, Mario Bertoncini or Vinko Globokar, among others, has to be introduced as a part of the analytical process. The pallet of one’s position in the group and one’s action/reaction model (built ultimately on one’s personal preferences) is something that influences the global result and is not simply predictable (even if acting in a range of finite possibilities, as will be shown). Famous improvisations as GINC's RKBA 1675/I from the 1966 LP Album or New Phonic Art's 1973 Free Improvisation Album will offer the opportunity to examine some of the mentioned question in detail.
The research focuses on 1) analytical and theoretical problems of improvised music in relation to the graphic dimension. (Free improvisation has the doubtful reputation of having no structure, presuming no theoretical background and being not suitable to analysis, but some models developed in the filed of sound analysis as for instance Lasse Thoresen’s, Spectromorphological analysis of sound objects or Pierre Couprie’s, EAnalysis can be discussed as possible ways to solve the question); 2) the research investigate a possible way to track a single improviser’s action in the context (adopting a revised version of Regula B. Qureshi analytical model); 3) and examine the relationship between improvisation and written music by observing the improvisation as a part of a larger creative process on the path of music language transformations of the Sixties and Seventies.
The research is based 1) on archive material study (Paul Sacher Fondation – Vinko Globokar; Nuova Consonanza Archive – GINC, Archive Franco Evangelisti, Mario Bertoncini private archive) in order to investigate information coming from correspondence, writings or music autograph sketches, schemata, recordings, etc; 2) on developing new analytical tools in order to analyse (recorded) improvised music from the point of view of the listener as well as that of the performer; 3) on comparative historiographical method due to reconstruct the global context.
From 2004 to 2015 two research centres funded by the (UK) Arts and Humanities Research Council – which represented successive stages of the same project – provided a focus for research in musical performance. Whereas the first (the AHRC Res
10 octobre 2015 55 min
The French literary criticism movement, critique génétique, is an attractive interdisciplinary model for the study of music sketches because of its staggering amount of varied scholarship published during its forty-year history, its conce
10 octobre 2015 32 min
In previous conference presentations and writings I have discussed Henry Brant’s process of “prose-report composition,” which became his primary working method in 1945. The process, which is heavily documented in his sketch manuscripts at t
10 octobre 2015 27 min
My paper centers on the compositional manuscripts of Dmitri Shostakovich (1906-75), the Soviet Union’s leading composer of art music. Opening a window onto the composer’s creativity, fragmentary passages, rejected movements, revised manuscr
10 octobre 2015 29 min
In recent years, the increased availability of recorded music in the instrumental teaching studio as part of performers’ routine for familiarising themselves with musical works they will then go on to perform, has meant that performers are
10 octobre 2015 30 min
The paper is an attempt for reconstruction of coding (creative) and decoding (reading) process, both dependent on temporary collective imaginative patterns, which funded the historic-ontological status of two significant works of the Czech
10 octobre 2015 26 min
When Adorno characterized the introductory measures of “Entrueckung” in Schoenberg’s Second String Quarter as something “never yet heard,” he pointed to a caesura that was both a breakthrough and also a rupture in the history of music. A de
10 octobre 2015 28 min
The present conference aims to study the creative trajectory of the Brazilian contemporary opera confection and also how the creation networks of opera work, within a communicational and semiotical approach. It also aims to explore the ind
10 octobre 2015 26 min
This paper theorizes and investigates the role of new music festivals, currently among the leading institutional impulses for the creation of contemporary art music. During the last few decades those festivals have gained increasing promine
10 octobre 2015 30 min
Charles Ives began formulating literary and musical ideas that would evolve into Concord Sonata as early as 1902. The piece was first published in 1921, and significantly revised to the point of being “re-written” in 1947. Throughout those
10 octobre 2015 30 min
In his book The Economics of Creativity: Art and Achievement under Uncertainty (2014), the distinguished sociologist Pierre-Michel Menger offers an analysis of artistic creativity that seeks a middle path between two equally unsatisfactory
10 octobre 2015 01 h 13 min
In my presentation I will elucidate the interplay of several forms of knowledge in composing process in art music. As a general term, “knowledge” includes forms of explicit, propositional knowledge as well as several forms of implicit, embo
10 octobre 2015 23 min
Faced to a more and more digitalized world the interest in artists manuscripts is still growing. Sometimes it is the mystic rising of an idea and its often unexpected development, sometimes it is a surprising simple reason that can be seen
10 octobre 2015 26 min
New things are made with old things. In this sense, all creation is basically a combinatorial process – though not just that. It also implies novelty; but novelty comes into play in a dynamic space between random indeterminacy and routine r
10 octobre 2015 36 min
The concept of "mistake" is antithetical to jazz's spirit of uninhibited creativity. But jazz, like any musical style, conforms to a system of rules and conventions; indeed, this is what defines the style—what makes it sound like jazz and n
10 octobre 2015 26 min
In jazz research and performance practice, emphasis has long been awarded to musicians who exhibit virtuosity or mastery of solo improvisation. Whether Louis Armstrong’s assertive solo cadenza on West End Blues or John Coltrane’s blazing ac
10 octobre 2015 24 min
Since sociology has been historically concerned with the question of how social order is possible, its main focus has been on exploring (the imposition of) conventions, rules, norms, every day routines, etc. As a result, the study of creati
10 octobre 2015 29 min
This paper presents the results of a genetic study of Antagonisme, a chamber work composed by Xavier Darasse on a text by the philosopher Alain Badiou for the 1965 concours de composition at the Conservatoire de Paris. Darasse and Badiou be
10 octobre 2015 26 min
Vers le milieu des années 1980 à l’IRCAM, le compositeur français Marc-André Dalbavie a pris conscience de l’importance de l’espace dans l’existence du son, notamment à travers son contact avec l’acousticien Jean-Marie Adrien. À parti
10 octobre 2015 32 min
From 2004 to 2015 two research centres funded by the (UK) Arts and Humanities Research Council – which represented successive stages of the same project – provided a focus for research in musical performance. Whereas the first (the AHRC Res
10 octobre 2015 55 min
From their compositional and philosophical perspectives, the works of Elliott Carter and Luigi Nono share very little in common. Carter, a true American modernist, strongly opposed the method of twelve-tone music, which was becoming prevale
10 octobre 2015 27 min
The question of whether Henri Dutilleux was a pro- or anti-serialist can be difficult to answer. However, in the 1960s, the composer evidently participated in the serial movement when he composed his two seminal works called Métaboles and
10 octobre 2015 26 min
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