CeReNeM Journal Issue 4: March Editor: Pedro Alvarez Journal of the Centre for Research in New Music, University of Huddersfield CeReNeM Journal, . Tel: Fax: e-mail: [email protected] internet: Brian Ferneyhough. Kurze Schatten II () . Brian FerneyhoughKurze Schatten II EP for Solo Guitar BRIAN FERNEYHOUGH KURZE SCHA1TEN II.

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This approach has proved a fruitful way of documenting and encouraging the constant dialogue between an already diverse community of postgraduate researchers at the University of Huddersfield, and our colleagues from around the world with a similar interest in contemporary music.

In this sense gestures, instruments, and scores become intertwined in a performer- specific interactive schema. The exploitation, manipulation, and transformation of external structures facilitates cognition, offloading part of the mental effort in the environment. By the end of this process, one is in the position to prepare the technical execution through reflection, so that a piece can be prepared in very short time without prior practice on the instrument ibid.

This shape was applied scbatten several synthesized and pre-recorded sound layers in the first part of my piece Electric Serpent. Essentially, the meta-instrument is an empirical examination of the iterative processes belonging to my compositional method, and is distinct from, for example, live-composition.

The process kuzre immediate and direct; immediate feedback is also returned through listening. This allows for an open-form composition, because the possible pitch outcomes of each iteration of the process are bounded and weighted but not predictable: Here, the sdhatten noisy activities are used to generate a vast sonic environment. Changes of pitch, tempo, and dynamics are indicated.

Toward noon, shadows are no more than the sharp, black edges at the feet of things, preparing to retreat silently, unnoticed, into their burrow, into their secret.

Brian Ferneyhough – Kurze Schatten II/6 by mats scheidegger | Free Listening on SoundCloud

For that reason, almost every note has a string assigned, or it is possible to deduce it from its context. Derrida argues that the Babel story is useful as: What this mode of representation fails to do is to represent the navigational act of learning dynamically, in real-time, ferneyohugh thus the transformation of the initial gestural template.


Many abrupt pauses are employed in this section, which fragment the shapes created by the sound fernehough. Human agency Having outlined the physical materiality of the instrument, and its agency, I would like to turn to the performative human agency.

As a result, the legitimacy of multiple interpretations for complex notation will come into focus from a performer-specific, embodied perspective. This stuff is not for the faint of heart!

Classical Guitar

Forum guitare classique schqtten Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. Apart from the mind no reality as such exists. Those two poles are in fact complementary and reflect the cartesian dichotomy between technique and interpretation, body and mind, in very much the same way as the quote from Boulez at the start of this article does.

A PTT Push-To-Talk button was positioned on the floor, in front of the flutist so that it could be easily pressed by her with the tip of a foot. Throughout the discussion the body writ large is a central focus; it is considered to be the medium through which staged failure necessarily transacts meaning and experience between the disparate bodies of performer, audience, and composer.

This trade-off shifts the ground of the environment, from one with many different pitch possibilities to one with mostly fixed pitch possibilities but more subtle shades of weighting between them. Secondly, the theme of Replacement is a radical, anti-representational direction exhibited in the so-called Dynamical Systems Theory: Cognition can be defined as navigation with real-time perception and action and as exploration of environmental affordances.

For Rose Capdevila and Stephen D. A co-relation between the visual arts and composition is also schattwn focus of Lefteris Papadimitriou’s text, specifically showing how techniques borrowed from Surrealist Art are applied in his own music. In this way I verbalize mental noise as a by- product of the composing process. The fabric of mind. Non-Cartesian Directions in Cognitive Science 1. This external information processing may be energy-saving when compared to a purely internalist, mind-based process Rowlands,p.


In opposition to internalism, externalism demonstrates a hybrid approach to cognition. Our aim is to achieve the optimal results with the least expenditure of our own muscular energy. Rerneyhough only — until now — static part of the dynamic system the notation is mobilized.

In addition to this, and when starting to work on a new piece, to how many musical assumptions that the composer will blindly take for granted do these initial thoughts eventually lead?

Four EEC ideas for corporeal navigation The directions already presented reflect the multiplicity of the EEC field and offer an introduction to the basic terminology for a model of corporeal navigation, applied to piano performance practice. Because the musical material is unstable, ferneyough score here cannot be considered as a text for musical interpretation, the point of the score is not to create a set of specific sounds or musical representations, but to enact a network of agencies within an feerneyhough in a way that is self-perpetuating.

To this purpose I am using reflection in an exhaustive way. Going on and on. Jurze and New York: How is an interpretation in schattsn traditional sense still possible? Each set of fingerings is a stable resonating column of air with a specific inharmonic spectrum of pitches.

Such unity is definitive of the performative experience. Selected Writings, —, vol.

On string instruments, especially lower pitched instruments like the cello, sustained tones allow a large range of spectral subsets with extremely subtle gradation of weighting between partials.

Thus, it seems clear that the tendency to increase the density of material at scatten rhythmic level dominates toward the end of the movement.