"Partita 3" for solo cello: performance process after notes on energy flow
The article presents the process of constructing the performance of a piece of music to be premiered after the dialogues between the composer and the performer, from the most prosaic to the most elaborated conceptually. The main issue to be explored is the concept of 'energy flow', w...
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| Principais autores: | , |
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| Formato: | Online |
| Idioma: | por eng |
| Publicado em: |
ABRACE / ANDA / ANPAP / ANPPOM
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| Endereço do item: | https://periodicos.ufrn.br/artresearchjournal/article/view/17690 |
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| Resumo: | The article presents the process of constructing the performance of a piece of music to be premiered after the dialogues between the composer and the performer, from the most prosaic to the most elaborated conceptually. The main issue to be explored is the concept of 'energy flow', which permeates the whole discussion. The concept is conceptualized by the French philosopher Gilbert Simondon and achieves applicability as a mediation between the compositional act and the interpretative act, functioning as a framework that fades from linguistic referentiality or quasi-romantic subjectivism. In this way, it intends to present the concept in operation, besides presenting an anatomy of the piece itself, that crosses the compositional thinking and the thinking involved in its performance, offering a deeply collaborative analytical approach.
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