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Language Itamar, revista de investigación musical. 2008. Número 01
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- Criptograma 7 poemas y 5 lenguajes: los problemas de un coreógrafo(2008) Pérez Rodríguez, Carmen
- Inintelligible, injouable, incomprehensible: la complexité musicale est-elle analytique, instrumentale, perceptive ou hétéronome?(2008) Lévy, Fabien"If the challenge is beauty, Rameau is a great man; But if by random beauty of adventure is merely nature, then Rameau is small man!". In this epigram, published by the Mercure de France after the premiere of Hippolyte et Aricie, in 1733, rose a major historical question on complexity of art, giving it sometimes a laudatory value (l'Ars Nova and l'Ars subtilior "Educated man" by David Hume2, the generalized serialism and the tabula rasa after war, the school of "new complexity" - Ferneyhough, Mahnkopf, Finnissy-), sometimes pejorative (by censoring the complexity of the Ars Nova in the papal bull of 1322, the Council of Trent, "anti-élitiste et ludique" music by Carl Orff, neo-classicism, Satie, the six schools of the "Neue Einfachheit" - Rihm, Böse, Trojahn - Minimalism, easy listening, etc. ...). However, of what complexity do these artists and critics speak of? Do they admire the wealth of techniques cleverly arranged or the huge perception of the composition? Are they surprised by the accumulation of intellectually stimulating procedures, the playing difficulty or the hard work of listening with unprecedented audition habits? Complex? Complicated? Delicate? Dense? Unintelligible? Virtuous? Different? Elitist?
- Primero el arte y luego tocar el piano: cinco conciertos de Lidiana Cárdenas(2008) Romero, Pepe
- El "Arte de Música" (Valladolid, 1592) de Francisco de Montanos y la explicación de la modalidad polifónica en la España del tardío Renacimiento(2008) Zaldívar Gracia, AlvaroThe Art of Music theory and practice (Valladolid, 1592), of the chapel music composer Francisco Montanos, is an important book made up of six treaties dedicated, respectively, to plain singing, organ music, counterpoint, composure, proportion and commonplaces. This work very much appreciated at his time, is not as well known today as it deserves. This work offers, as a demonstration of its theoretical and practical value, an explanation by Montanos, outlined in the treaties of composure and common places, of the polyphonic modality as an essential element of music compositions. He clearly defines his support to the model of the most important technical and practical Spanish treaty writers (eight-note system, based on the fundamental grades of each note) versus the new twelve-note system, of glareano-zarliniana inspiration, received in Spain and disseminated by the most erudite and speculative Salinas.
- La influencia de Samuel Beckett en la música contemporánea(2008) Rodríguez Hernández, Rosa MaríaSamuel Beckett's work has not only influenced other writers such as John M. Coetzee, Harold Pinter; visual artists like Bruce Nauman, Bill Viola, Philip Guston or Jasper Johns; or choreographers such as Maurice Béjart and Pina Bausch; but has also influenced prominent music composers. We will see through his aesthetic, described by Alain Badiou, those functions -go, be, say, Other-result in musical compositional procedures in the works of Roman Haubenstock-Ramati, Luciano Berio, Pascal Dusapin, John Cage, György Kurtág and Peter Eötvös. These are presented as dialogues (Movement/Stillness, Be/Not being, Reminiscenses/Oblivion; Speech/Silence; Ones self/The Other); using the internal implications of these dialogues we will be able to reach a reflection and understanding in view of the different dialogues. We add a list, product of our research, of composers who have been inspired by the work of Samuel Beckett.
- Del fragmento, la repetición, el ritmo, la permutación, la aleatoriedad y la indeterminación en la poesía fonética y sonora(2008) Ferrando, BartoloméThis article aims to cover the various factors or elements that, under my opinion, have been used in the historic creation of phonetic and sonorous poetry, and those I use in my personal practice. Thus, I have made mine the relationship between fragmentation, repetition and discontinuity, present in many historical compositions, applying them to my own pieces. In addition, the complete text offers a defence of the concepts of rhythm and permutation. The first are related at the same time with breathing and nature. With regards to permutation, I stress its possible connection with the absurd. The end of the article deals with the difference between randomness and indeterminacy, as defended by Boulez and Cage. I have used them together in some of my latest compositions.
- Regard sur le naufrage des objectifs et du tout-programmé: didactique musicale et complexité allostérique(2008) Darbon, NicolasThis article shows the advantages and disadvantages of all the musical education programs carried out both in college and in primary schools. It analyzes the Ministry's draft Program for 2009. Focusing in particular on the concept of the "objective", the educational centre has. To do this, there is a need to situate ones self in epistemological theories of complexity. Facing the classical "objective" to the systemic "finality", it stresses the unpredictability while dealing with group dynamics and declares the need to avoid the use of the allosteric model in music education. The strong offensive approach this situation produces is the prelude to a work on creating music, the unexpected, the branches, the false track, "collateral knowlage", which can only be achieved by intentions of dialogue.
- El sistema tonal: la intuición schenkeriana y el pensamiento complejo de Edgar Morin(2008) Iniesta Masmano, RosaExponemos una re-visión de los contenidos básicos de la teoría elaborada por Heinrich Schenker, que pueden ser considerados como ideas intuitivas complejas. Vínculo, Asociación Motívica, Coherencia Estructural, Unidad, Jerarquía, Niveles de Organización Estructural son nociones que se insertan en los ámbitos que conducen al pensador francés Edgar Morin a construir su propio Paradigma de la Complejidad: Sistémica, Cibernética y Auto-organización. Nosotros establecemos las relaciones pertinentes y proponemos un nuevo significado para el corpus schenkeriano; una interacción que aleja el pensamiento del teórico austriaco, y de sus continuadores, del ángulo reduccionista, e inserta el Sistema Tonal en los parámetros del Pensamiento Complejo, justificándose a través del trabajo de Edgar Morin.
- "Ce que pensent nos yeux": Cezanne, explorateur de la perception(2008) Mandelbrojt, JacquesWe present an article that shows the relationship between Cezanne, a precursor of cognitive science, Piaget and the contemporary musician Schaeffer.
- Kierkegaard, el don Juan de Mozart y el demoniaco(2008) Matassi, ElioIn Aut-Aut S. Kierkegaard makes a highly original interpretation of Mozart's Don Giovanni, which can only be found in a personality of the German romanticism such as E.T.A. Hoffmann. In fact, the central category of interpretation of the demonic, is found from the very beginning, the famous figure of Don Giovanni is penetrated by the internal contradiction of the devil, that lays between the absolute determination and the free will. The special fascination of Don Giovanni, as diabolic, lies in the interior of such a contradiction, exalted by the music in all its implications.
- Rayuela de visiones imaginarias del flamenco(2008) Fernández Manzano, ReynaldoThe collective imagination has not only caused impact on art and on the spectator but has also changed over time. From literature, intellectuals, composers, researchers, artists until new technologies, have all built a complex of substrates with different intensities that make up the kaleidoscope of artistic visions. This article approaches different visions of flamenco, the social critique of the 98 Generation, a more human side of the romance of Glinka; to new devices, "phono-archaeology" and first photographs of flamenco, focusing on technical and chemicals processes, the world of research: folklore and anthropologists; the gaze of the avant-garde and of Pablo Picasso, and finally to the "founding myth" of flamenco singing "cante jondo" of Falla and Lorca.
- Tratados Musicales andalusíes de la escuela Levantina y aportaciones al marco interdisciplinar (ss. XI-XIII)(2008) Cortés García, ManuelaBased in Levante Andalusi School, this work presented and analysed the Arabic documents conserved that alive your existence and, also, compared the variants with the other schools. In the some time, put in valour of legacy conserved and the contribution of theorists, poets, compositors and musicians in the context of your time theorists. This elements and factors leads today to new research endeavours based on the transmission by theorists and compiler from XI to XIII centuries as well allowing for inter/disciplinary connections in the context of andalusi music and your contribution to the reconstruction of musical historiography of this culture.
- Los cánticos del cíclope: variaciones sobre un tema clásico(2008) Gallego Gallego, AntonioComo si se tratara de una crónica viajera, este ensayo analiza un paisaje, el del Etna en Sicilia, y algunos de los mitos que fueron ideados y ubicados dentro y alrededor de la montaña más alta de Italia y del volcán activo mayor de Europa. Ayudados por la mitología, la literatura, la iconografía y algunas músicas que recogieron y difundieron los mitos del Etna, de Polifemo, Galatea, Acis y los protagonistas de la gigantomaquia, el análisis propuesto tiene en la música su hilo argumental más sólido, aunque no exclusivo. El instrumento pastoril de Polifemo, la siringa o flauta de múltiples tubos, también llamada Flauta de Pan por su origen mitológico, es la principal pero no única sonoridad de este ensayo, que hunde sus raíces en la Odisea y los bucólicos griegos, en los poetas latinos, en los líricos hispanos desde las Cantigas de Alfonso X a Góngora y Quevedo, y llega hasta dos poetas (o poetisas, como se prefiera) contemporáneas, Aurora Luque y Amalia Bautista, sensibles aún a algunos de estos símbolos.
- Música y Mujeres, género y poder: diez años después(2008) Piñero Gil, Carmen CeciliaLa publicación en 1998 del libro "Música y Mujeres, género y poder" que recogía, bajo la compilación de la compositora Marisa Manchado, una serie de estudios sobre las mujeres y los estudios de género en música, supuso un punto de inflexión en la bibliografía en castellano. Diez años después el camino recorrido en el tema arroja en diversos ámbitos resultados positivos, tanto cualitativa como cuantitativamente. La necesidad de seguir visibilizando la producción de las creadoras de pasado y del presente en una sociedad patriarcal no es más que un aspecto de lo mucho que queda por hacer.
- La vocale et l'instrumentale: jeux de miroirs au temps des Lumières. Poétique des rapports entre musique vocale et musique instrumentale dans la seconde moitié du 18e siècle(2008) Dauphin, ClaudeThese ideas are an attempt to explain some functional musical gestures shaped with the help of language. Three perspectives are considered. First: the imitating archetypal patterns of speech; second, those adopted from the syntax process; and third, the definition of grammar. These hypotheses were risen in an earlier work of mine without further discussion or argumentation. They have been taken up here again to clarify what could be considered the attributes of the Italian influence that the legion of analysts and commentators of Baroque, preclassic and classic music identify without feeling the need to point them out. Too often being classified as having Italian influence is equal to denoting "a certain grace" of the melody in the ultramontane production during the eighteenth century. Meanwhile, the French style merely identifies certain rhythms established by the lullyenne opening detect and ineffable "majesty" in the work of the heirs of the Versailles' aesthetic. By this work I aim to point out in a more specific way the characteristics of both styles.
- El Arte Sonoro(2008) Molina Alarcón, MiguelEn este artículo se desarrolla un estudio que bajo la denominación de "Arte Sonoro" se recogen diferentes prácticas llevadas a cabo por el arte contemporáneo en las últimas décadas, las cuáles todas ellas tienen como elemento común el uso del lenguaje sonoro. Se expone en primer lugar las primeras muestras relacionadas con esta práctica y se contrasta las diferentes definiciones que se han realizado de este término, así como aquellos autores que defienden una indefinición. Se mencionan además las diferentes tipos de prácticas que se sitúan dentro de este término. También se interroga si esta categoría puede encuadrarse solamente en las artes visuales o también en la música. Más adelante se aborda los antecedentes del Arte Sonoro en las vanguardias históricas a través del uso del ruido por parte del futurista Luigi Russolo, el dadaísta Marcel Duchamp y del escritor español Ramón Gómez de la Serna, además de las aportaciones de otros artistas de la vanguardia dentro de la llamada "música visual". Después se estudia dos líneas principales de la práctica del Arte Sonoro, materializadas primero en la llamada escultura sonora que plantea un diálogo forma-sonido a través del objeto y la ausencia del intérprete (en el sentido musical) a favor de potenciar al receptor como creador; y en un segundo lugar, la instalación sonora que desarrolla una interrelación entre sonido-espacio-tiempo-oyente, reflejada en distintas obras que van de la importancia del espacio al contexto, en un diálogo activo con el oyente. Por último, se expone otras prolongaciones del Arte Sonoro en la actualidad, que abren otras posibilidades expresivas del lenguaje sonoro desde otros campos creativos.
- La musicologie et le mystère du logos(2008) Warszawski, Jean-MarcDespite the absence of a specific research subject, "music" or "sonorous art" is proving to be a vague investigation field due to diversity. Since its birth in the nineteenth century, Musicology, seeks to become a positive science. Brief reflection of an improbable logos.
- Musicologie historique, ethnomusicologie, analyse: une musicologie générale est-elle possible?(2008) Nattiez, Jean-JacquesThe subject this article is about dates back to a long teaching experience in Montreal. I taught in a so called "research" seminar, similar to what is called, in German and English speaking countries a Proseminar, where I ask students of the master and doctorate in musicology, to read all or part of the great compositions that have marked the development of our discipline in each of its major sectors: the history of music, musical analysis, ethnomusicology, the study of pop music, sociology, cognitive psychology and the aesthetics of music. I never deal the acoustic music in an incompetent way. However, I have found over the years perplexity in students due to the disciplinary diversity, They, of course, want to specialize in one of the fields, but also in the multiplicity of methodological paradigms in each of the branches. Too often, students today do not have the philosophical and epistemological basis for understanding the variety of models and approaches in all of musicology. So I have focused my thoughts these recent years, on the reasons for this dispersion and on how to remedy it. It is not only for the sake of research in musicology, that I set out my point of view, but also to avoid educational problems.
