scholarly journals Interpretación musical como investigación: una perspectiva desde la práctica interpretativa de música reciente para guitarra

2020 ◽  
Vol 24 (47) ◽  
pp. 123-145
Author(s):  
Diego Castro Magas
Keyword(s):  
Brian Ferneyhough

El objetivo de este estudio es plantear el caso de la práctica interpretativa de música notada como investigación. Se discuten problemas y discursos acerca de la relación entre práctica artística e investigación en general, planteados originalmente en el Reino Unido y Europa, para luego examinar las necesidades específicas de la interpretación musical a través de modelos existentes. Se considera en particular el rol del análisis musical en estas prácticas, así como la importancia del conocimiento corporeizado (también llamado conocimiento tácito) en los procesos interpretativos. Se propone un modelo que es aplicado en dos estudios de caso dentro de la práctica reciente del propio autor, mediante extractos de música para guitarra de Brian Ferneyhough y Wieland Hoban. Se evalúa el aporte epistemológico de la aplicación de este modelo, así como su impacto en el sonido musical ejemplificado en distintos archivos multimediales con interpretaciones tanto del autor como de otros intérpretes. Bajo la premisa de que uno de los principales potenciales de la práctica como investigación es hacer explícito lo tácito, finalmente se interroga la pertinencia del modelo delineado en estos términos.

COMPLEXITY, CLARITY AND CONTEMPORARY BRITISH ORCHESTRAL MUSIC

Tempo ◽  
2016 ◽  
Vol 70 (277) ◽  
pp. 63-78
Author(s):  
Sam Hayden
Keyword(s):  
Public Discourse ◽  
Orchestral Music ◽  
Compositional Approach ◽  
Value Judgements ◽  
Brian Ferneyhough ◽  
Normative Expectations ◽  
Post War ◽  
Musical Elements

AbstractThis article discusses how normative perceptions of British contemporary orchestral music can be underpinned by a residual binary of ‘clarity’ versus ‘complexity’ as positive and negative value judgements respectively, informing public discourse around the orchestra by reviewers, audiences and performers alike. A post-war valorisation of ‘clarity’ is traceable to the transparent neo-tonal harmony, melodic invention and approaches to orchestration characteristic of the post-Britten tradition. The adoption of such a valorisation by ‘mainstream’ contemporary British composers, exemplified by Faber Music, has generalised an aesthetically specific compositional approach. Using the examples of Thomas Adès and George Benjamin, the article shows how certain residual normative approaches to material and notation are defined against the tendencies of ‘complexism’ as exemplified by Brian Ferneyhough. This binary has engendered conservatism towards traditions of radical new orchestral music that do not conform to normative expectations of ‘clarity’, as the immediately perceptible separation and identification of musical elements.

scholarly journals Dans les dédales du « tour de force »

2010 ◽  
Vol 1 (1) ◽  
pp. 63-74 ◽  
Author(s):  
Célestin Deliège
Keyword(s):  
Brian Ferneyhough

Le débat esthétique contemporain semble souvent tourner autour de l’opposition entre la simplicité et la complexité de l’écriture. Sans accepter le simplisme de l’école répétitive, l’auteur exprime ses réserves à l’égard de la « nouvelle complexité » et questionne tout particulièrement la démarche de Brian Ferneyhough

‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’

Tempo ◽  
2008 ◽  
Vol 62 (244) ◽  
pp. 2-10
Author(s):  
Marilyn Nonken
Keyword(s):  
New York ◽  
Contemporary Music ◽  
State University ◽  
Leonard Bernstein ◽  
Musical Thought ◽  
Avant Garde ◽  
Morton Feldman ◽  
Pierre Boulez ◽  
Old Order ◽  
Brian Ferneyhough

For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre Boulez and staffed by Luciano Berio, Vinko Globokar, Max Mathews, and Jean-Claude Risset, its stated mission was to reunite science and music and create new modes of performance. Across the Channel, the composers of the New Complexity (Brian Ferneyhough, James Dillon, Richard Barrett, and Chris Dench) were also redefining performance practice, focusing not on technology but on notation and its implications for virtuosity. And in America, different schools of musical thought were colliding in the streets and the academy. Leonard Bernstein delivered the Charles Eliot Norton lectures at Harvard, then presented his ‘unanswered question’ to the American public, on television, in 1976. And uptown and downtown were ensconced, with Milton Babbitt and Morton Feldman appointed to the faculties at the Juilliard School and the State University of New York at Buffalo, respectively. On both sides of the Atlantic, seminal artistic statements were being made, heralding the unruly adolescence of a new and disparate avant-garde no longer directly connected to the Second World War.

Dench, Christopher (1953--)

2018 ◽  
Author(s):  
Richard Toop
Keyword(s):  
Brian Ferneyhough ◽  
Radical Approach

Christopher Dench is one of a group of British composers who emerged in the early 1980s associated with the notion of New Complexity (other composers included Richard Barrett and James Dillon); the term was also applied to slightly older composers, such as Brian Ferneyhough and Michael Finnissy. Typical of their works were extremely intricate rhythms, often exquisite and highly personal calligraphy, use of microtones, and a generally radical approach to instrumental writing that often placed huge demands on performers. Born in London, Dench is self-taught but, like many of his contemporaries, gained much from his contact with Michael Finnissy, the composer and pianist. In June of 1987, Dench emigrated first to Tuscany and, later, to Berlin on New Year’s Day, 1989, to take up a DAAD residency. Dench ultimately relocated to Australia on Christmas Day of the same year and became an Australian citizen in 1992.

Brian Ferneyhough by Lois Fitch. Bristol: Intellect Books, 2013. £28.00

Tempo ◽  
2014 ◽  
Vol 68 (268) ◽  
pp. 113-116
Author(s):  
Paul Griffiths
Keyword(s):  
Brian Ferneyhough

scholarly journals GESTURE, MIMESIS AND IMAGE: ADORNO, BENJAMIN AND THE GUITAR MUSIC OF BRIAN FERNEYHOUGH

Tempo ◽  
2016 ◽  
Vol 70 (278) ◽  
pp. 16-28
Author(s):  
Diego Castro-Magas
Keyword(s):  
Guitar Music ◽  
X Ray ◽  
Brian Ferneyhough ◽  
Important Stimulus

AbstractOne important stimulus in attempting to apply Adorno's constellation of concepts on performance to Brian Ferneyhough's guitar music is that both display the influence of Walter Benjamin's thought. Benjamin's concept of mimesis influenced Adorno's theory of musical reproduction, however much Adorno may have reformulated it, and various Benjaminian topics are traceable in Ferneyhough's guitar music, especially Kurze Schatten II (1983–89) for solo guitar. Adorno claims that true reproduction is the X-ray image of the work of music, a rendition of all the aspects that lie hidden beneath the surface. By exploring the conceptual traces of Benjamin's thought in Kurze Schatten II, this article examines how performer's interpretative choices are likely to render the X-ray image of this music in performance, as seen through a gesture-based approach.

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