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

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.

Referencialidade, coesão estrutural e organização temporal em In Nomine a 3 de Brian Ferneyhough

<div><p class="LO-Normal"><span class="Fontepargpadro"><span lang="PT-BR">O estudo analítico investiga os princípios estruturantes formais, temporais e rítmicos de <em>In Nomine a 3 </em>de Brian Ferneyhough. A análise parte da contextualização dos elementos referenciais da temática do ciclo <em>Umbrations </em>no qual a peça está inserida. Em seguida, é realizado um estudo detalhado da macroforma baseado na segmentação formal da peça<em> </em>e nas principais características organizacionais dos materiais correlacionados à temática. A última parte da análise dedica-se ao estudo minucioso dos aspectos temporais e rítmicos no âmbito da microforma da peça a partir das subseções e dos compassos individuais. A aproximação analítica empregada recorre a um conjunto de estratégias alternativas a fim de identificar e discutir os elementos estruturantes da peça inacessíveis por meio da análise tradicional da partitura, contextualizando-os ao pensamento composicional de Ferneyhough.</span></span></p></div>

Charles Bernstein’s Walter Benjamin, Among Other Things

This hybrid creative-critical chapter considers the work of American poet and scholar Charles Bernstein. The chapter is modelled formally on Walter Benjamin’s The Arcades Project and its use of found text to construct a critical montage. Benjamin’s influence on Bernstein can be dated to the late 1970s; the chapter begins with Bernstein’s early interest in Benjamin, and then tracks that interest throughout his poetry and poetics. The chapter also includes a discussion of Bernstein’s 2004 opera libretto Shadowtime, written for the music of English composer Brian Ferneyhough. This opera is based on Benjamin’s life and work.

Brian Ferneyhough’s ‘Transit’, The London Sinfonietta, and the Emergence of Complexity in 1977

In November 1977 the London Sinfonietta began its tenth-anniversary season with a performance in London of Transit by Brian Ferneyhough. The concert marks a significant moment in the formation of Ferneyhough’s public persona, just as the tenth-anniversary season marked a turning point for the London Sinfonietta. In this article I undertake a microhistory of this performance in order to ascertain how Ferneyhough’s reputation for complexity was forged in Britain. Rooted in performance and reception history, and based around close readings of key tropes, I show that early critical opinion ranged from sympathetic to ambivalent or curious; yet it never developed into the type of hostility commonly referenced in critiques of New Complexity. The historical detail of this pivotal performance, I argue, suggests the need for a broader cultural history attuned to the transitional state that characterizes both the history and the historiography of new music in the late 1970s.

Dench, Christopher (1953--)

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.

Czernowin, Chaya (1957–)

Arguably the most important Israeli composer to emerge in the late twentieth century, Czernowin, born 7 December in Haifa, is much sought after as a composer and pedagogue in the United States and Europe. She earned a BA in 1982 at the Rubin Academy of Music, Tel-Aviv University, an MFA in 1987 at Bard College, and a PhD in 1993 at the University of California San Diego. Her principal teachers include Abel Ehrlich, Dieter Schnebel, Brian Ferneyhough and Roger Reynolds. Among her many honours and distinctions are the Kranichsteiner Musikpreis (1992), a year residency at the Akademie Schloss Solitude (1996), an Ernst von Siemens Stiftung Förderpreis (2003), the Fromm Foundation Award (2008), and a Guggenheim Fellowship (2011). She has held professorships at the University of California San Diego, Vienna’s University of Music and Performing Arts and Harvard University. In addition to faculty positions at major contemporary music festivals like the Darmstadt Summer Courses, impuls academy, and the SWR Experimentalstudio’s matrix academy, Czernowin has initiated elite international courses for young composers on three continents: the Summer Academy at Schloss Solitude (Germany), Tzlil Meudcan (Israel), and Harvard’s Summer Composition Institute (USA).

Saariaho, Kaija (1952–)

Finnish composer Kaija Saariaho initially studied in Helsinki before moving on to Freiberg where she studied with Brian Ferneyhough and Klaus Huber among others. In 1982 she moved to Paris and began to work regularly at the musical research centre IRCAM. Early in her career she collaborated with Magnus Lindberg and Esa-Pekka Salonen to form the Finish new music ensemble Korvat Auki! (Ears Open!).