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SCHEDULE
last info at http://ktkdk.edu.ee/
and http://www.facebook.com/events/1562538360686552/
registration and information: doktorikool@ema.edu.ee
SCHEDULE
last info at http://ktkdk.edu.ee/
and http://www.facebook.com/events/1562538360686552/
registration and information: doktorikool@ema.edu.ee
23rd of May 2015 - Room A402
24th of May 2015 - Room A402
10:00 Welcome Coffee
10:15 Welcome Coffee
10:10 Welcome message by Rector of the Estonian Academy of Music, Peep Lassmann
10:30 Music and the moving image
by Kaire Maimets-Volt (EE), PhD
10:20 Opening remarks by Pro Tempore Head of Composition Department Paolo Girol
10:30 Letters to a young composer: the correspondence Katunda-Nono, 1949-1952
by Michelle Agnès Magalhães (BR/FR), PhD, Composer
11:30 Visual concepts as structure for composition. Analysis of two works by Salvatore Sciarrino: “Lo
spazio inverso” and “L'orologio di Bergson”
by Tarmo Johannes (EE), PhD, Musician
12:30 Lunch break
11:30 Composing augmented instrumental choreography: investigating relations between the physicality of
instrumental performance and choreographed movement
by Elo Masing (EE/GB), PhD
12:30 Lunch break
13:30 Utopia and visual art: unlocking the imagination?
by Dirk Hoyer (DE/FI), PhD
14:30 Cognition and visuality
by Jarmo Valkola (FI), PhD
13:30 Keynote presentation
by Ivan Fedele (IT), Composer
15:00 From the sonic archive of “Associazione Nuova Consonanza”: Giacinto Scelsi, Franco Evangelisti
and the"Gruppo d'Improvvisazione Nuova Consonanza”
by Fausto Sebastiani (IT), President of “Associazione Nuova Consonanza”, Composer
16:30 Round table and open discussion
moderated by Kerri Kotta (EE), Chairman of the Estonian Musicological Society, PhD.
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SCULPTING THE SOUND
15:30 Round table and open discussion
moderated by Raul Keller (EE), Head of New Media Department at the Estonian
Academy of Art
19:00 The Department of Composition of the Estonian Academy of Music and Theatre
presents at Mustpeade Maja (Pikk 26, Tallinn) a concert of music of Ivan Fedele:
https://www.facebook.com/events/622791321190307/
http://www.mustpeademaja.ee/events/maestro-ivan-fedelele/?lang=en
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SCULPTING THE SOUND
two-day intensive graduate seminar on contemporary music and visuality
two-day intensive graduate seminar on contemporary music and visuality
23rd and 24th of May, 2015
Room A402
23rd and 24th of May, 2015
Room A402
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
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___________________________________________________________________
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Letters to a young composer:
the correspondence Katunda-Nono 1949-1952
Michelle Agnès Magalhães, PhD
Visual concepts as structure for composition.
Analysis of two works by Salvatore Sciarrino
Tarmo Johannes, PhD
Abstract
Abstract
Eunice Katunda (1915), Brazilian born pianist and composer, was one of the most
important members of the activist group “Música Viva”. Founded by the composer Hans Joachin
Koellreutter (1915), pupil of Hermann Scherchen, the group was responsible for some actions
that renewed Brazilian music, and helped to diffuse new music practices. Eunice Katunda, Bruno
Maderna and Luigi Nono began an intense friendship in 1948, during Hermann Scherchen’s
classes. In the following year, she returns to Brazil and starts a correspondence that keeps alive the
discussions of the Venetian period. This letters give us the possibility to follow an important
debate. Maderna, Nono and Katunda were trying to establish connections between twelve-tone
techniques, political choices and everyday life. To accomplish it, was necessary to invent a musical
language to avoid automatism of the twelve-tone technique. This communication aims to discuss
some musical examples from these tree composers, bringing this discussion to the context of the
contemporary music.
Italian composer Salvatore Sciarrino (1947) has said: „Without doubt, my world is visual
world. It has so close connection with the auditory world that it is almost irreal”. The lecture
demonstrates, how a composition can be analyzed using simple visual principles, provides
examples how this information can be useful for performance or listening and discusses if and
how much visual structures matter in auditory perception. The two works examined are “Lo
spazio inverso” for flute, clarinet, violin, violoncello and celesta and “L'orologio di Bergson” for
solo flute by Salvatore Sciarrino.
Sitography
S. Sciarrino „Lo spazio inverso”
https://www.youtube.com/watch?v=m6SO2_xONUw
S. Sciarrino „L'orologio di Bergson”
https://www.youtube.com/watch?v=kRmmUDY024c
Sitography
Magalhaes, Michelle A. ; Ginot-Slacik, Charlotte« Con altri mondi »
Vienne, Rio de Janeiro, Venise : le groupe brésilien Música Viva et Luigi Nono
http://www.dissonance.ch/de/archiv/hauptartikel/432/abstract/fr
S. Sciarrino
http://en.wikipedia.org/wiki/Salvatore_Sciarrino
Tarmo Johannes's doctoral thesis
“Influence of analysis on the musical performance, based on works of three Italian contemporary composers: Bruno Maderna,
Franco Donatoni and Salvatore Sciarrino”
(in Estonian):
http://uuu.ee/tarmojohannes/Gemid/Doktoritoo%20TJ.pdf
Latino-américa música
http://www.latinoamerica-musica.net/
Fondazione archivio Luigi Nono
www.luiginono.it
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SCULPTING THE SOUND
___________________________________________________________________
SCULPTING THE SOUND
two-day intensive graduate seminar on contemporary music and visuality
two-day intensive graduate seminar on contemporary music and visuality
23rd and 24th of May, 2015
Room A402
23rd and 24th of May, 2015
Room A402
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
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!
!
!
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The archive of “Associazione Nuova Consonanza”: Giacinto Scelsi, Franco Evangelisti and
the "Gruppo d'Improvvisazione Nuova Consonanza”
Fausto Sebastiani, Composer
Music and the moving image
Kaire Maimets-Volt, PhD
Abstract
The archive of “Associazione Nuova Consonanza” has been recently declared Cultural
Heritage of Italy by the Italian Ministry of Heritage and Cultural Activities. The archive contains
primary source documents (administrative documents, correspondences, scores, audio recordings,
concert programme notes, etc…) that have been accumulated over the course of at the
association’s lifetime. The Archive shows the activity of the association from sixties, activities have
been focusing not only on a strong common ground of aesthetics between the members but
mainly on the need of accelerating the modernisation of the music in Italy and the need of a
common-action intended to spread the culture of contemporary music between the “consumers”
of music.
Keeping these goals in mind, the key strategy has been the creation of the “Gruppo di
Improvvisazione Nuova Consonanza (GINC)”, also known as “The Group”, an avant-garde free
improvisation group considered the first experimental composers collective. The collective was
formed by Italian composer Franco Evangelisti in Rome in 1964. Drawing on jazz, serialism,
musique concrete, and other avant-garde techniques developed by contemporary classical music
composers such as Luigi Nono and Giacinto Scelsi, the group was dedicated to the development
of new music techniques by improvisation, noise-techniques, and anti-musical systems. The group
members and frequent guests made use of extended techniques on traditional classical
instruments, as well as prepared piano, tape music and electronic music. The first concert of “The
Group” took place on 28th of January 1965 and last one on 28th of January 1985. Recording
from the archive will be presented during the presentation.
Abstract
Music has been inseparable from telling stories with moving images since the birth of the
latter. My presentation provides an overview of music's most significant functions in contexts
where it is associated with moving images. I shall focus on film music, but those functions apply as
well, for example, to TV commercials, video games, etc. It might be argued that a film's principal discursive medium is visual. At the same time,
there has never been any such thing as a silent film. Musical sound and music as sound has more or
less always accompanied the visuals as a "supporting language". Hence the essential question of
film music studies: "What is music doing in the movies, and how does it do it?" (Gorbman 1987:
2). Given that in the case of film music it is possible to study music in relation to extramusical
symbols (pictures, words, sounds, etc.), my aim with this presentation is to discuss on the basis of
some eloquent film clips, how and what can music signify in the film narration, and how does it
create a point of experience for the spectator.
Sitography
Maimets-Volt, Kaire (2009). Mediating the ‘idea of One’: Arvo Pärt’s pre-existing music in film. Estonian Academy of Music and Theatre
Dissertations 4. Tallinn: Eesti Muusika- ja Teatriakadeemia. http://www.ema.edu.ee/vaitekirjad/doktor/Kaire_MaimetsVolt.pdf
Tagg, Philip (2013). Music's Meanings. A Modern Musicology for Non-Musos. New York, Huddersfield: MMMSP. [Especially Chapter 14,
"Analysing film music”].
http://tagg.org/mmmsp/NonMusoInfo.htm
Gorbman, Claudia (1987). Unheard Melodies: Narrative Film Music. London: British Film Institute Publishing [Bloomington and
Indianapolis: Indiana University Press].
Sitography
http://en.wikipedia.org/wiki/Gruppo_di_Improvvisazione_di_Nuova_Consonanza
http://en.wikipedia.org/wiki/Giacinto_Scelsi
http://en.wikipedia.org/wiki/Franco_Evangelisti_%28composer%29
http://www.superiorviaduct.com/products/gruppo-di-improvvisazione-nuova-consonanza-musica-su-schemi-lp
http://www.musica.san.beniculturali.it/web/musica/home
www.nuovaconsonanza.it
___________________________________________________________________
SCULPTING THE SOUND
___________________________________________________________________
SCULPTING THE SOUND
two-day intensive graduate seminar on contemporary music and visuality
two-day intensive graduate seminar on contemporary music and visuality
23rd and 24th of May, 2015
Room A402
23rd and 24th of May, 2015
Room A402
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
!
!
!
!
___________________________________________________________________
___________________________________________________________________
Composing augmented instrumental choreography:
investigating relations between the physicality of instrumental
performance and choreographed movement
Elo Masing, PhD
Composing augmented instrumental choreography:
investigating relations between the physicality of instrumental
performance and choreographed movement
Elo Masing, PhD
Abstract
The paper introduces augmented instrumental choreography as an embodied method of
composing that focuses in on and magnifies the physical movements involved in performing
instrumental music and uses choreographic processes in developing musical material, turning the
choreographic nature of instrumental performance into a significant compositional resource and
illuminating the continuum between the kinaesthetic and the auditory. It then looks at the web of
interrelationships between different areas of interest that define musical compositions employing
augmented instrumental choreography in a series of case studies of my own works and illuminates
parallels with the oeuvre of the so-called ‘first wave’ of physicality-centered composition as
represented by Helmut Lachenmann and Mauricio Kagel, as well as that of my contemporaries,
such as Evan Johnson, Aaron Cassidy, Simon Steen-Andersen and Neil Luck.
Among other aspects, the case studies demonstrate how in some instances a performer’s
personal traits may become essential features of a work – an outcome that can be considered a
natural result of an embodied method of composing – bringing the work very close to the realm
of dance and physical theatre and potentially prompting the composer to overcome the various
divisions of ‘musician’, ‘dancer/choreographer’, ‘composer’, ‘performer’, enabling him/her to
define himself/herself as the ‘creator’ of the work in a much wider sense.
Sitography
Bräuninger, Renate & Seago, Catherine 2008. ‘Knowledge of the Body Established through Personal Identity and Exposure to
Dance Cultures as the Theme of Choreographic Communication’, Dance Dialogues: Conversations across cultures, artforms and practices
Proceedings of the 2008 World Dance Alliance Global Summit, Brisbane, 13 – 18 July. On-line publication, QUT Creative Industries and
Ausdance, <http://ausdance.org.au/articles/details/knowledge-of-the-body> accessed 30 September 2014.
Cassidy, Aaron 2013. ‘Constraint Schemata, Multi-axis Movement Modeling, and Unified, Multi-parametric Notation for Strings
and Voices’, Search Journal for New Music and Culture, Issue 10, <http://www.searchnewmusic.org> accessed 5 December 2013.
Cook, Nicholas 2001. ‘Between Process and Product: Music and/as Performance’, Music Theory Online: The Online Journal of the Society
for Music Theory, Vol. 7 No. 2, <http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html#FN13REF> accessed 14
October 2014.
Feneyrou, Laurent 2014. ‘Pierluigi Billone: compositeur italien né le 14 février 1960 à Sondalo’, Ressources. IRCAM: B.R.A.H.M.S., 2
January 2014,
<http://brahms.ircam.fr/pierluigi-billone#parcours> accessed 10 February 2015.
Gorton, David & Shaw-Miller, Simon & Heyde, Neil 2010. ‘Instrumental Choreography: Gesture and Performance in Gorton’s
Capriccio for Solo Cello’ in Proceedings of the 5 Conference on Interdisciplinary Musicology (CIM09) hosted by the Université Pierre and Marie
Curie, Université Paris Sorbonne-Paris IV, Cité de la Musique, musée du quai Branly, Paris, France 26-29 October 2009, <http://
cim09.lam.jussieu.fr/CIM09-en/Proceedings_files/34A-Gorton%26al.pdf> accessed 5 September 2014.
Masing, Elo 2014. ‘Mapping or Choreographing?: Redefining Musical Notation’, Opticon1826 (16):21, < http://
www.opticon1826.com/article/view/opt.by> accessed 30 October 2014.
Pace, Ian 2009. ‘Notation, Time and the Performer’s Relationship to the Score in Contemporary Music’ in Darla Crispin (ed.)
Unfolding Time: Studies in Temporality in Twentieth Century Music. Leuven University Press, 151 – 192.
(also available online at <http://openaccess.city.ac.uk/5418/>)
Sitography (next page)
Cook, Nicholas 2014. ‘Between Art and Science: Music as Performance’, Journal of the British Academy, 2, 1–25.
(also available online at <http://www.britac.ac.uk/journal/2/cook-n.cfm>)
Pace, Ian 1997. ‘Music of the Absurd? Thoughts on Recent Kagel’, Tempo 200, 29-34.
(also available online at <http://openaccess.city.ac.uk/6466/>)
________ 2005. ‘Lachenmann’s Serynade – Issues for Performer and Listener’, Contemporary Music Review 24, 101-112.
(also available online at <http://openaccess.city.ac.uk/4735/>)
___________________________________________________________________
SCULPTING THE SOUND
___________________________________________________________________
SCULPTING THE SOUND
two-day intensive graduate seminar on contemporary music and visuality
two-day intensive graduate seminar on contemporary music and visuality
23rd and 24th of May, 2015
Room A402
23rd and 24th of May, 2015
Room A402
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
!
!
!
___________________________________________________________________
!
___________________________________________________________________
Utopia and Visual Arts:
Unlocking the Imagination?
Dirk Hoyer, PhD
Abstract
In Ancient Greek the word “idion” means one “one’s own”, so in this understanding an
idiot is someone who retreats into the private sphere. Does the disconnection from the
political and the public sphere entail a limitation of the imagination? How can imagination
be understood as an active and collective process, or even, as the German word
“Vorstellungskraft” implies, a force to project new ideas? Locked into the “idion”,
imagination is limited to reproduce a world without alternatives. The vanishing hope for
finding solutions in the political sphere, the decline of the public sphere and the selffulfilling prophecy of the homo economicus have fuelled the retreat into a rationality
based on self interest. The “idiot”, in the original sense, is the dominating figure in most
of the Western societies. Almost 500 years after Thomas More’s book, the question is if
and how utopian visions can unlock the imagination and what role art can play in this
process. Keywords: Imagination, Utopia.
Cognition and Visuality
Jarmo Valkola, PhD
Abstract
Cognition and Visuality is a viewpoint into the cognitive science related to art and its
comprehension. Cognitive science is an interdisciplinary way of scientific thinking, which has its
implications to the theories of aesthetics. Cognitive science has its links with philosophy, and deals
with aesthetic questions because of the importance of mental processes and their recognition in
audiovisual perception. Jarmo Valkola argues that observers think, perceive, feel, interpret, and
apply knowledge of the world in viewing and making sense of the works of art. This viewpoint
integrates psychological, phenomenological, and aesthetic approaches and concepts to understand
the complex processes of art and its interpretation. Through different cinematic examples it is
possible to study artistic originality, since they form a cognitively interesting way in approaching
pictorial orchestration of images and sounds. Chris Marker’s film Sunless (Sans soleil, 1982)
provides an intriguing and challenging example for cognitive analysis of an artwork.
Sitography
Sitography
http://books.google.fi/books/about/Cognition_and_Visuality.html?id=4gICywAACAAJ&redir_esc=y
Carducci, V. (2012, Feb 1). Envisioning Real Utopias in Detroit. Motown Review of Art. Retrieved from:
http://motownreviewofart.blogspot.com/
http://www.scribd.com/doc/20471669/Valkola-Art-and-Aesthetics-of-the-Image#scribd
http://www.muusikateadus.ee/wp-content/uploads/Jarmo-Valkola.pdf
Kumar, K. (1987). Utopia and Anti-Utopia in the Twentieth Century. New Jersey: Blackwell Publishers. Retrieved from:
http://cas.umkc.edu/econ/economics/faculty/Lee/courses/488/reading/utopia7.pdf
http://epa.oszk.hu/01300/01368/00013/pdf/2001_191-218.pdf
Levitas, R. (2005). The Imaginary Reconstitution of Society or Why Sociologist and Others Should Take Utopia More
Seriously. Inaugural Lecture. University of Bristol, Bristol, United Kingdom. 24.10.2005. Retrieved from:
http://www.bristol.ac.uk/media-library/sites/spais/migrated/documents/inaugural.pdf
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+cognition&source=bl&ots=slxAfeOrBk&sig=6nkutR-B0cfpqjN64DRP2thNAQ&hl=en&sa=X&ei=CDQRVfi8BujnygPevIKADQ&ved=0CCMQ6AEwATgK#v=onepage&q=jarmo%20valkola
%20cognition&f=false
Noble, R. (2009). The Lure of Utopia. Exhibition Catalogue. ARKEN Museum of Modern Art, Retrieved from:
http://research.gold.ac.uk/4774/
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%20cognition&f=false
http://questionsdecommunication.revues.org/6325?lang=en
___________________________________________________________________
SCULPTING THE SOUND
___________________________________________________________________
SCULPTING THE SOUND
two-day intensive graduate seminar on contemporary music and visuality
two-day intensive graduate seminar on contemporary music and visuality
23rd and 24th of May, 2015
Room A402
23rd and 24th of May, 2015
Room A402
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________
Estonian Academy of Music and Theatre
Tallinn, Estonia
___________________________________________________________________