Uw zoekopdracht voor trefwoord 'experimentation' leverde 4 resultaten op in 'Projecten'.
The appearance of microphones and loudspeakers allowed composers to explore new musical territories. Until then, grinding noises coming from mechanic of piano or sounds emitted by the pianist were only perceived as disturbing the performance. With the development of amplification, those noises have become sounds that composers could use in a musical discourse.
New pianistic techniques have appeared: inner and outer parts of the instrument are investigated with the hand or with various accessories, while, in turn, properties of these accessories are revealed through their use inside the piano. The pianist himself becomes a study object: he is asked to make amplified finger snaps or tongue clicks, he has to speak, to sing or to whistle in a kind of choreographed show.
Live electronics have brought new steps of amplification, increasing virtuosity, filtering resonance, working on acoustic diffusion. The pianist can then interact and play along with live electronics, expanding the possibilities.
This research will be done from the performers’ perspective, but in collaboration with different composers for experimenting new amplified piano / pianist music.
Paraphrase - Experimental organism on the body of the musician, its qualities and contexts takes the body of the musician as subject and proposes an exercise that departs from the repertoire for solo clarinet containing movements beyond the ones commonly considered as part of the music-making body and continues proposing an experimentation based on an acoustic feedback set-up where movement, sound and space have a different relation among them in what the instrument of composition is concerned.
Besides that, it proposes a shared experimentation with the same set-up between musicians and dancers to enlarge the method of comparison.
The relationship between performer and musical work has shifted focus in the last fifty years.
Hoewel opnames uit het begin van de 20e eeuw doorgaans worden beschouwd als waardevolle sporendragers van de uitvoeringsstijl van de laatromantische periode, zijn ze moeilijk te rijmen met de huidige normen voor het uitvoeren van bepaald 19e -eeuws repertoire, en met de identiteit van de uitvoeringscanons die door die normen beschermd worden.