Aarhus seminar slides

262 views

Published on

Published in: Education
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
262
On SlideShare
0
From Embeds
0
Number of Embeds
3
Actions
Shares
0
Downloads
2
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Aarhus seminar slides

  1. 1. School of Electronic Music A.Y. 2011-12 Electroacoustic Music Composition: a personal approach to Acousmatic and Live Electronics works.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  2. 2. Introduction (1/3)   Which is the best way for a musician to present his own work?   What does it really mean to present his own musical work? with no doubts this is an hard task…Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  3. 3. Introduction (2/3)   What is the meaning of being a musician today?   How many people among our parents and close friends understand what are we doing?   Are you “art for art’s sake” supporters?Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  4. 4. Introduction (3/3) “I had an obsession: a new instrument that would free music from the tempered system.” (E. Varese) ORGANIZED SOUNDErasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  5. 5. Summary   An overview of Edgard Varese fundamental ideas.   My compositional language key points.   The fascination of sound: an Electroacoustic trilogy on traditional-popular music from Salento.   ..:Electroshop:.. and Etheric Bodies: a personal approach to live electronics.   Falling, a Video-art-music work: electroacoustic music and the moving image.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  6. 6. Edgard Varese fundamentals (1/16)   Very few compositions which have strongly contributed to the evolution of music language.   Sound as living a matter, the primary material of his musical language.   Electronic music for natural instruments.   Musicians as sound generators.   To listen with unadulterated ears.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  7. 7. Edgard Varese fundamentals (2/16)   Rhythmic complexity and tonal diversity.   Indefinite pitched percussion, free atonality, musical forms which exist independent of tradition.   Questing for new timbral sound possibilities.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  8. 8. Edgard Varese fundamentals (3/16) “I had an obsession: a new instrument that would free music from the tempered system.” “The instruments that the electronic engineers must perfect, with the collaboration of musicians, will make possible the use of all sounds - not only arbitrary ones - and also, in consequence, the performance of any tempered scale music. They will be able to reproduce all existing sounds and collaborate in the creation of new timbres.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  9. 9. Edgard Varese fundamentals (4/16)   Desert (1950-54): for Orchestra and magnetic tape.   Poeme Electronique (1957-58): for magnetic tape. The first multimedia work of art.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  10. 10. Edgard Varese fundamentals (5/16) “The corporealization of the intelligence that is in sounds.” “It was a new and exciting conception and to me as spatial - as moving bodies of sound in space, a conception I gradually made my own.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  11. 11. Edgard Varese fundamentals (6/16) “We have actually three dimensions in music: horizontal, vertical, and dynamic swelling or decreasing. I shall add a fourth, sound projection - that feeling that sound is leaving us with no hope of being reflected back.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  12. 12. Edgard Varese fundamentals (7/16) “The music [on tape] was distributed by 425 loudspeakers; there were twenty amplifier combinations... the loudspeakers were mounted in groups and in what is called “sound routes” to achieve various effects such as that of the music running around the pavilion, as well as coming from different directions... etc. For the first time I heard my music literally projected into space.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  13. 13. Edgard Varese fundamentals (8/16) “Rhythm is too often confused with metrics. Cadence or the regular succession of beats and accents has little to do with the rhythm of composition. Rhythm is the element in music that gives life to the work and holds it together. It is the element of stability, the generator of form. In my works, for instance, rhythm derives from the simultaneous interplay of unrelated elements that intervene at calculated, but not regular, time lapses. This corresponds more nearly to the definition of rhythm in physics and philosophy.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  14. 14. Edgard Varese fundamentals (9/16) “One of the greatest assets that electronics has added to musical composition is that of metric simultaneity. My music being based on movements of unrelated sound masses I have long felt the need, and anticipated the effect, of having them move simultaneously at different speeds.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  15. 15. Edgard Varese fundamentals (10/16) “There will no longer be the old concept of melody or interplay of melodies. The entire work will be a melodic totality.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  16. 16. Edgard Varese fundamentals (11/16) •  Music is a spatial phenomenon and therefore fuctions in three dimensions. •  Rhythmic, harmonic, and melodic material undergo constant variation. This material is linked to form "sound masses" with connecting strands of melodic material. •  Rhythm is “the generator of form”, that which holds the work together. •  Vertical and horizontal material are interchangeable. •  Timbre is as important as pitch and will distinguish one sound mass from another. •  Sound possesses inherent intelligence.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  17. 17. Edgard Varese fundamentals (12/16) “When new instruments will allow me to write music as I conceive it, the movement of sound masses, of shifting planes, will be clearly perceived, taking the place of linear counterpoint. When these sound masses collide the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles… In the moving masses you would be conscious of their transmutations when they pass over different layers, when they penetrate certain opacities, or are dilated in certain rarefactions.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  18. 18. Edgard Varese fundamentals (13/16) Sound-mass Refers to a body of sound with certain specific attributes in interval content, register, contour, timbre, intensity, attack, and decay. Idea A motivic fragment in either the winds or percussion. Expansion of an idea Sound masses seem to emerge out of the expansion of an "idea" based on an internal structure and may continue into sonic space. Projection of sound The sense of projection of sound-masses masses depends on the source location as well as the independent movement of each sound-mass as opposed to the others.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  19. 19. Edgard Varese fundamentals (14/16) Penetration When "sound masses" collide, the interaction tends to bring about "penetration", during which certain attributes of one "sound-mass" are transformed to another. Transmutation When the attributes of a sound or sound-mass are transferred (penetration) to another, changing the attributes of each sound or sound-mass. With a single pitch it describes the change of color by degrees over a wide range (which electronic machinery made possible in a very perfected manner). Rhythm The simultaneous interplay of unrelated elements that intervene at calculted, but not regular, time lapses. Form The consequence of the interaction of attractive and repulsive forces evolved out of an “idea”. (form is the result of process)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  20. 20. Edgard Varese fundamentals (15/16)   Sound as living matter.   Sound as an object.   Projection of sound-masses moving into sonic space.   Form as consequence of a process.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  21. 21. Edgard Varese fundamentals (16/16) “I was not influenced by composers as much as by natural objects and physical phenomena.”Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  22. 22. Personal compositional language key points●  Fragmentation●  Segmentation●  Reflection●  Soundscape and its possible perspectives and layers●  Foreground (figure) and background (texture) processing●  Gestural vs. textural●  Re-construction of a meaning, other than the original oneErasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  23. 23. An Electroacoustic trilogy on traditional-popular music from Salento (1/11)   Year 2000: the encounter with a popular tradition. Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  24. 24. An Electroacoustic trilogy on traditional-popular music from Salento (2/11)   “Ammaraciccappa”: Ecstatic Rhythms of South Italy, Desert Voices and Metropolitan Sounds.   “Al Qantarah”: Electro-World Music from Salento and Maghreb. Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  25. 25. An Electroacoustic trilogy on traditional-popular music from Salento (3/11) Electroacoustic trilogy: - Canaja Canaja - Moroloja - Envoys Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  26. 26. An Electroacoustic trilogy on traditional-popular music from Salento (4/11) Canaja Canaja An Electroacoustic song based on a popular detention song Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  27. 27. An Electroacoustic trilogy on traditional-popular music from Salento (5/11) Moroloja Is inspired by one of the funeral dirges collected by Brizio Montinaro in the late 1970s in the strip of land known as Grecìa salentina, a small area in the South of the Apulian region where griko, a hellenic dialect, is still spoken. Example of the original chant Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  28. 28. An Electroacoustic trilogy on traditional-popular music from Salento (6/11) Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  29. 29. An Electroacoustic trilogy on traditional-popular music from Salento (7/11) Beddha ci stai luntanu Dolce lo mio drudo SICILIAN, attributed to FREDERICK II [1194 - 1250] source: Codex Reina 6771 (Paris) Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  30. 30. An Electroacoustic trilogy on traditional-popular music from Salento (8/11) Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  31. 31. An Electroacoustic trilogy on traditional-popular music from Salento (9/11) Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  32. 32. An Electroacoustic trilogy on traditional-popular music from Salento (10/11)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  33. 33. An Electroacoustic trilogy on traditional-popular music from Salento (11/11) Envoys Amsterdam 08/09/2007 International Gaudeamus Music Week ECPNM Live Electronics Contest Final ConcertErasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  34. 34. ..::Electroshop::.. and Etheric Bodies (1/7)  ..::Electroshop::.. is a “concrete” sound workshop.  Sounding artworks (“concrete” musical instruments).  Original audio-video processing software (Max/MSP/Jitter).  Musical composition, together with artworks, conforms to the concept of a “unique work of art”.  Audio tactile principle ➡ Performative actions on sounding artworks.  Video source is used as an input for live sound processing.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  35. 35. ..::Electroshop::.. and Etheric Bodies (2/7)   Appropriate technological environment ➡ aestethics.   Aesthetics is strongly influenced by a subject that is fundamental to me: Communication and interaction between humansErasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  36. 36. ..::Electroshop::.. and Etheric Bodies (3/7)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  37. 37. ..::Electroshop::.. and Etheric Bodies (4/7) Etheric Bodies for sounding sculptures, theremin, trumpet, bass clarinet, audio sequencing and live electronics. Composed and produced at ICCMR in Plymouth (UK)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  38. 38. ..::Electroshop::.. and Etheric Bodies (5/7) ETHERIC BODIES SCORE TIMING 0 2.5 12 22 30 50 55 1 01.08 SEQ. 1 TR TR TR G1=ON CL TR CL G2=ON SC1+LE CL 01.14 01.23 01.27 01.36 01.42 01.47 01.50 02.00 02.12 SC2+LE CL TR CL TR CL SC1=FOUT TR TR+CL=OFF TR 02.17 02.27 02.53 02.56 03.05 03.10 03.16 03.22 03.28 SC1=FIN CL+TR TR CL CL TR CL TR CL CL=OFF 03.42 03.52 04.00 04.07 04.12 04.19 04.29 04.40 04.53 ALL=FOUT ALL=OFF SEQ. 2 CL THER=ON CL CL G3=ON CL+TR LE 05.03 05.13 05.18 05.23 05.28 05.43 05.48 06.03 06.08 G4=ON THER=OFF SC3&4 TR CL TR CL TR CL LE 06.15 06.23 06.35 06.43 07.01 07.08 07.11 07.15 07.21 TR CL THER=ON TR+CL TR THER=OFF CL TR CL SC3&4=FOUT SC3&4=FIN 07.25 07.29 07.31 07.33 07.38 07.51 08.03 08.16 08.21Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  39. 39. ..::Electroshop::.. and Etheric Bodies (6/7) Etheric Bodies A. Chiaramonte 1 # # # # # # # SEQ1 ! "! # # # # # $# # # # % % % % "! # # # # # # # $# # # # # # # # % % % % PERM2-1 ! # # # # # # # # # PERM4-1 "!! # # # # # # $# # % % % % ! # # # # # # # # # PERM6-1 "! # # # # $# # # % % % % # # # # # # # # PERM1-1 "!! % % % % # # # # # # $# # # # # # # # # # PERM3-1 "!! % % % % # # # # $# # # # "! % % % % # # # # # # $# # # # # # PERM5-1 ! # # # # ! # # # # # # # # "! % % % % # # # # # # $# # &# PERM7-1 "! # &# # &# # # # $# # $# &# # &# # % % % % ! &# &# SEQ2 " ! &# # &# # # # $# # $# # # &# # &# % % % % ! &# &# PERM2-2 ! &# # &# # # $# # $# &# # &# # PERM4-2 "! # # &# & # % % % % "!! &# # &# # # # $# # $# # # &# # &# % % % % PERM6-2 &# &# "! % % % % # &# # &# # # # $# # $# &# # &# # ! & # &# PERM1-2 $# # $# # # "! ! % % % % &# # &# # # # &# # &# & # &# PERM3-2 ! % % % % # &# # &# # # # $# # $# # # &# # "! & # &# PERM5-2 "!! % % % % &# # &# # # # $# # $# # # &# # &# PERM7-2 &#Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  40. 40. ..::Electroshop::.. and Etheric Bodies (7/7)Etheric BodiesEMUFest 2010S. Cecilia Conservatoire - Rome Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  41. 41. Falling: a Video-Art-Music work (1/2)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  42. 42. Falling: a Video-Art-Music work (2/2)Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  43. 43. Thank you for your kind attention Antonino Chiaramonte’s contacts E-mail: antonin.chiaramonte@gmail.com Web: www.antoninochiaramonte.euErasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte
  44. 44. Varese, Edgard. "The Liberation of Sound - 1936 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 196-198. New York: Holt, Rinehart and Winston, 1967. "Rhythm, Form and Content - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 202-204. New York: Holt, Rinehart and Winston, 1967. "Music as Art and Science - 1939 Lecture," Varese, Edgard. In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 198-201. New York: Holt, Rinehart and Winston, 1967. "Spatial Music - 1959 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 204-207. New York: Holt, Rinehart and Winston, 1967. "The Electronic Medium - 1962 Lecture." In Contemporary Composers on Contemporary Music. ed. Elliott Schartz and Barny Childs, 207-208. New York: Holt, Rinehart and Winston, 1967. Varese, Louise. Varese: A Looking Glass Diary. New York: Norton, 1972. Edgard Varèse, "Il suono organizzato", scritti sulla Musica, Milano, Ricordi-Unicopli, 1985.Erasmus exchange A.Y. 2011-2012: The Royal Accademy of Music in Aarhus/Conservatory of Frosinone Prof. A. Chiaramonte

×