The forced association between traditional
values and music research, from the start assumed "relationship",
" contextuality", as relevant compositional data. We spontaneously
constructed scores which included metaphorical instructions to all or a
specific type of musician; the codification of Lorenzo's gestures and performative
behavior were the first hint of a nonlinear composition obtained by the conduction;
the use of improvisation subjected to strict timbrical, dynamical, harmonic,
rhythmical and metaphorical laws persued the idea of improvisation as the
possibility to apply a contemporary musician’s complexity and compositional
ability inside specific macro-semantic grids (1995).
In defining the aggregates which resulted from the individual
experiments/improvisations and in stabilizing the nature of pre-recorded
sample-aggregates, the idea of metacomposition (the treatment of music aggregates
as sonic “elements”) often surfaced.
These two approaches had a common need for the heterogeneous components to
flow inside of a composition which can no longer refer to any traditional 'ensemble'
laws, and to now make use of contextuality, of the fusion betweeen electronic
and acoustic bodies, and of free editing of previous recordings, as the main
compositional characteristic (on the line of any phonografic art).
The fragile harmonic condition of an aggregate inside a metacomposition necessarly
meets the need for a nonlinear composition:
the possibility of each aggregate and performative context to live within more
than one possible musical relationship .
Nonlinearity. Multiple solutions for an intentional artwork.
Nonlinear instructions. An inter-language theory
Didactictraining to our editing and performing languages.
A Living Score.
Dancer Raffaella Giordano conducting . 1997 [read]
.Sempre Straniero. Singer Andrea
de Luca conducting
. 1998 [read]
.Butterfly. Musician Ikue
.I cani crocifissi. Elliott
Special guest Zeena Parkins.
explore the examples [listen]>