lunes, mayo 31, 2010

Alemania

bandera alemana para colorear como más te guste

La Alemania que veía (y amaba)  desde la Argentina es mucho mas interesante que la que me encuentro en la realidad. 

La Alemania real se me antoja un país dogmático, donde todo intenta ser fuerte, efectivo, sólido. Y toda esa solidez no me parece mas que un gran temor a enfrentarse con lo imprevisto, con lo desconocido, con las emociones y los chistes. En mi perspectiva, la pretensión de la vida sin error es paradójicamente un gran error.

Con la música alemana escucho la misma canción. Siempre muy presente lo que esta bien y lo que está mal. La obsesión para el libreto, por el preparativo exhaustivo, por el protocolo, por las intensidades excesivamente calculadas. Y claro, para quebrar esa manera de vivir en el dogma constante, hace falta un martillo bien grande; partir las cosas en pedazos no hace más que confirmar lo rígido. O todo o nada. 

Yo extraño la cosa cálidad (aunque sea mentira) de los países latinos: la picardía, el chiste, vivir entre los pliegues de las cosas y no tan en la cosa en si. Extraño la sorpresa, la ineficiencia y la tontería porque sí. 

viernes, mayo 21, 2010

3. The score as the world.

Notas para Berlín

Se larga la tercera...
(una chacarera extendida, qué guitarreada!) 


As I was saying… I have a music score printed on my glasses. The music score is just a way of thinking and putting together all kind of diverse elements elements on a big story board. With staff lines. A score it is not only a way of registration, a note to remember actions and sounds. It is a big grid from where to look music and the further world.  
In this context I believe (or I want to believe) that all these diverse elements, like lights, movements, objects, etc, only for the fact of being placed on a music score, become themselves music instruments. And only some of them sound.

A pointillist writing with a meticulous descriptions of actions and gestures can be a powerful tool. We need a precise vocabulary to talk about very imprecise things.  The relationship between those so so so fragile materials and the solid structures is a condition of my music and I think notation is a try to tie that fragility into the field of possibility. 

I want to build something solid with ping pong balls, strings, peas, with water. Notation is for me a strong point to link fragilities. I find that combination very substantial. This also represents me in other areas of my life. 

We are not going to succeed in notating the water, a rocking chair bouncing, an umbrella opening and closing… we will succeed half way, and that is the success. Notation is touching this half made worlds, is recalling them. Notation is about what is written, but also what can not be express. Notation doesn't describe, notation invokes.

Half everything - but so complete as a footbal ball ... Goal from half field...  (how to translate golazo de media cancha?)   ...   ...   ...  

I think that all this music is about that. It is about in between disciplines, half sound-half imagination. When sound is fragile we necessary need to complete it with our own emotions. 

The scores […] are sometimes an essential tool for composition. There are things which no composer would have been able to do all of a sudden, without looking at the paper, step by step, what is happening between the different things that he or she comes up with. This may be one of the most important things which distinguish Western music from music from other cultures.

Leo Masliah

So, score is a powerful tool. 

Notation is what establishes a detailed and solid frame where to start moving… it remains me the drawing of a choreography with chalk steps on the floor...  the dancer follow the steps… and the dance is not obviously its notation… the feet of the dancer necessary get appart from the ones drawn on the floor... the dancer jumps with this action into the world of senses, bodies and physical laws... 

And the dance is both the drawing and the real feet. Which is more real is unknown. 

El teatro de la música

miércoles, mayo 19, 2010

Gespleten piano - partitura

Siempre es una pregunta que hacer con los propios trabajos, si vender, difundir, mostrar parcialmente...
Por el momento he decidido habilitar todas mis partituras en mi sitio web. Hasta ahora este gesto no me ha traído más que satisfacciones y múltiples interpretaciones de mi música. Además de olvidar por un rato ese concepto tan desafortunado del copyright artístico... si bien es un tema complejo, no es interesante...

Chin chin


http://www.ceciliaarditto.com/works/gespleten_piano.html

La arquitectura del aire - audio y partitura

Cargué una nueva partitura en mi sitio. También el audio. Hay que tener paciencia al comienzo, ya que la nota pedal del órgano del comienzo no se escucha en la grabación.

Los aspectos visuales de la obra se pierden en el audio, lógicamente.

http://www.ceciliaarditto.com/works/laarquitecturadelaire.html

2. The big guitar.

Notas para Berlín.

Se larga la segunda...


In the genesis of my music, I like to think that research on extended techniques and curiosity for sound went further and further ... in one moment the borders of the music instruments became so diffuse that  nobody could figure out its drawing any more. First came the blurring of the listening, then the vanishing of fingerings, gestures and the usual conventions for the instruments.  

If we think about the musical instrument as a map of the known aural territory, these further explorations will require new maps to be drawn. The extension around the borders its progressively incorporated to its body, to its land. And music is therefore everywhere, inside and outside: the world itself becomes a big guitar. 

The world had been always there, but it is this particular change on perception which attaches the outside to the strings of a guitar for ever.  

The percussionists were the first in extending the instrumental set up a step beyond, because it is natural and idiomatic for them to play row materials and objects. And then, slowly, came the others.

In my musical world I was progressively extending the habitat of the chamber music to other experiences that are not necessary based on sound but can be of course be perceived as music. The listening machine can be expanded into a perception machine, that may includes, of course, the emotion of sound. 

Music includes sound as perception includes listening; but music and perception are in this context broader categories.  

Music is something that can be heard, but can be as well seen and thought. Music is a way of understanding the world. And sometimes it sounds.

The music in this extended land becomes lights, gestures, movement. Image, texts, graphisms. Theater, jokes, anecdotes and the vast space around.  

An often-cited definition of music, coined by Edgard Varèse, is that it is "organized sound". In this perspective, music would not only be the organization of sound on time but also lights, colours, objects, words, movements… Music is historically related to music instruments, but there is also music in the objects around, images, maps, lights, mirrors.

Music is a way of interpreting the world.

Because I am academic, my glasses have staves.  

To be continue...

Some examples of this expanded language in my music

Alrededor d ela música

http://www.ceciliaarditto.com/videos/alrededordelamusica.html

El libro de los gestos

http://www.ceciliaarditto.com/videos/ellibrodelosgestos.html

lunes, mayo 17, 2010

1. Wood, stones and leaves.

Estoy preparando una charla sobre mi música que dare en la Universidad de Berlín el 27 de mayo a las 14.00hs.

Estoy poniendo algunos pensamientos, nuevos y viejos, en algún tipo de estructura. Al comienzo estaba un poco aburrida de mí misma, pero empecé a hacer un trabajo de psicoanálisis musical que me inspira bastante, sobre todo para lo que viene, para las próximas obras.

Desearía que mi inglés fuera mejor, pero hace un tiempo decidí abandonarme a las imperfecciones congénitas de mi dificultad para las lenguas y priorizar la comunicación. 

Se larga la primera...

I have always the feeling that my ideas about music are very intense and that they are changing throughout my life. But then I realize I am always around the same ideas; in fact I have the same ideas I had when I was eleven and was not still a composer. I can really recall the way I felt about the world.

I will divided the afternoon in small chapters, or mini-topics. Somebody once told me that when you have a problem (like talking about your own music), you have to divide it into small problems… So, I will talk about some split-issues, or better said, some mini-fascinations I have…  

1. Wood, stones and leaves…

This chapter is dedicated to music materials.

I said long time ago, in 2004, during the Aleph seminaries for young composers in France…

“First, there is the material condition of music, which is represented by the physical laws of sound. Sound constitutes for me a material like stone, grass, water, a material that is extensive in space, with its own weight, colour, speed. […] I have always been struck by the sensuality of sound, I have always loved it. The infinite possibilities of instruments constitute a source of inspiration and research. However, the exploration of sound would just be an empty category, a cosmetic idea, if it were not tied to the idea of musical grammar. […] Another aspect of my work consists of classifying sounds by criteria such as weight or color. I established this classification in order to find a relationship between the expansion of the temporal line and the materiality of the sound: the temporal line is like an extension, a dilation of the material in time. In this way you obtain a relationship between form and material. Which comes first in this contexts, it is impossible to know.

I keep on liking these ideas a lot. I wouldn’t express myself in such a way now, but I keep on believing in those concepts "as the first time". It always fascinates me how to read the materials, how to deeply listen to them, to understand not only their wavelength, but their intimate behavior. It implies a logic (even into the no-logic), that makes us believe that music has their own reality, their own truth.  

...

When I was kid, when on holidays, together with my sisters, we used to make a house in the woods. We established ours limits, set up the table, the rooms, the car and the tennis yard(!). All was made with the same pieces of wood, leaves and stones that from the outside may look like nothing, just the wood. But for us it had the most coherent logic, crowned with a flower pot on top of the table.



I like to think that composing is the same. It is choosing our materials, and giving to them different placements and properties to be able to build our imaginary spaces.



...

I started a "long-life-term-project" in 2002, researching different sound possibilities in solo instruments. I started collecting acoustiques rarities, lost sounds, noises and personal jokes, that become short studies for different instruments under the name "Música invisible". 

“Música invisible / invisible music” is an accumulative project based on the exploration of new possibilities for different instruments. The research on unusual techniques (nothing really new under the sun!) comes together with the exploration of new perception techniques. A melody in 1/32 tones in the flute not only deals with micro-tonality but also creates a new listening context; a trumpet player playing their instrument into a tin of water not only opens new acoustic possibilities for the instrument but also changes the theatrical role of the player in the concert. The catalog of physical curiosities is subordinated to the creation of different ways of thinking the instrument, working in the abstract zone where the instrument loses its familiarity and becomes "invisible".

"Música invisible" is not just a metaphor, it is a lay. We know that music is always invisible. But this “lay” forces us to see something that doesn't exist in the eye, but in the ear. How a little joke, a small displacement, is forcing us to place our perception in a slightly different angle.  

Read the whole interview at... 

http://www.ceciliaarditto.com/texts/AlephloogbookEnglish.html


More about "Música invisible"

http://www.ceciliaarditto.com/musicainvisible/indexmusicainvisible.html

To be continued...

sábado, mayo 15, 2010

Bla bla bla

http://www.compositiontoday.com/show_video.asp?video_id=250800

Pequeña pieza para piano y video que compuse junto al animador holandés Juan de Graaf. La pantalla funciona como una gran luz que se prende y se apaga. Esta obra funciona mejor en vivo, en una sala oscura. 

Straal en holandés significa resplandor, destello... es el chiste del final... ja ja y já.