diálogos ELE

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.

Author: Mezijin Bralar
Country: Sierra Leone
Language: English (Spanish)
Genre: Career
Published (Last): 20 September 2012
Pages: 229
PDF File Size: 17.64 Mb
ePub File Size: 9.31 Mb
ISBN: 867-2-74877-294-5
Downloads: 53561
Price: Free* [*Free Regsitration Required]
Uploader: Fenrik

It is the shame. Paper presented at the I. It contains observations about pursuing a practice in general that also apply to my creative and musical practice.

This stuff is not for the faint of heart! The Myth and Cult of the Virgin Mary.

Thus, the algorithmic causal chains of traditional CS are being substituted from constant self-organized feedback circles. Consequently, whether intended by Ferneyhough or not, the second sequence of Short Shadows seems to be a carrier of content marked by notions of rupture and search for new alliances. In this article, I will talk mainly about intra- actions, my new work for solo cello — written for cellist Seth Woods — which is concerned with a continuous and indeterminate spectral exploration, revealing the partials of the open strings using the bowing hand alone.

The relative role of noise results in the noise-signal duality: Current research in neuroscience, namely the research on canonical and mirror neurons,9 strongly reinforces this hypothesis. From the very beginning the performer is involved in a self- organized feedback circle, in which not only does she play the instrument, but all elements drive the process and change the qualitative and quantitative aspects of the neural function in time: Cognition can be defined as navigation with real-time perception and action and as exploration of environmental affordances.

And even more interesting, not only the score itself, but also the performing body and the instrument should ideally be uploaded in the head: They constitute the foundations upon which we have to rely in order to progress in the acquisition of knowledge and the development of specific skills, both of which will ultimately contribute to forge an independent voice and artistic personality.

In Joie — barring the title, which given the series of works that follows it, might be read as referencing some kind of spiritual joy — the instrument is yet to take on any clear symbolism, its motors moving across its surface in a seemingly abstract game of geometry.


There is beauty within the paradox that any sound or silence could have followed any sound or silence, and yet there is only one result — which derives from that dialectic established with and against oneself. However, the problem may not rely on the use of narrative as a compositional device in itself, but in both the lack of reflection when organising the sounds and in not acknowledging any aesthetic consequences such a stance or method of work implies.

On the other hand, the languages of things are imperfect and dumb; things can communicate to man through a more or less material community. The model can be thought of as the conjecture of the presented developments in cognitive science and of the aporias and challenges in musical interpretation today. Morphing of sounds can be easily achieved by mixing sounds with similar temporal behaviour.

Brian Ferneyhough – Kurze Schatten II

The background for this model is shaped from the presented developments in composition, as well as from the latest developments in cognitive science CS.

By means of the PTT stave and the arrangement of the microphone triggered by the performer only the most intimate noise of the mind is processed in the electronic part. The performance of schatfen is all about the revealing and exploration of these in-between places, the local teleology of the processes guiding rather than specifying.

Here, the human voice appears in a complex form, combining pitched, voiced sounds with words that carry meaning.

As an example, the longer the silence, the more roles it would acquire: However, when one considers the creeds of the resurrection of the body, and of life everlasting, there is a certain paradox in mourning, above all mourning the death of Christ — indeed rejoicing might be the more apt reaction.

How is an interpretation in the traditional sense still possible? Despite the belief in a life everlasting impervious to the dissolution of the flesh compare, for example, John schattwn Learning complex scores manifests as a real-time gestural analysis and processing of the notation, which cuts through textual complexity.


I apply the noise-signal duality: The Logic of Sensation. My position is not that the only task of the composer is to translate short stories into music, rather it is important for me to establish and reveal relationships. The live piano part is a layer that morphs with the pre- recorded piano. Their ambiguous and interfering potentials challenge me as a performer and composer.

There are neither wholes nor parts builds on the idea that each set of fingerings on the instrument is essentially a separate instrument with its own resonances, its own harmony, and that these different harmonies can be connected through common tones and so on; the situation becomes truly multi-dimensional once differences between players themselves are included.

From these readings the task was then to establish how Death Sentence could be translated inter-semiotically avoiding reductive or representative treatments. Such a decision, which especially should be a concern in passages with longer temporal intervals between events, affects not only the visual information of performance; the fact of playing those events harmonics and micro-figures with no preparation considerably affects the potential expressive of the whole performance.

Thereby, this criterion will produce several shifts for the right hand too; those should also be performed with no progression in themselves, but stating the important exception of the micro-figures fernfyhough category 3, which feneyhough be progressively prepared as possible.

Classical Guitar

In my observation of performing, there is a flow from the innermost layers of my mind to the outside world to communicate sound, and back inside again through hearing.

I also question whether such a plan will facilitate the building of relationships that would create a determined context.

Micro-figure type 3, bottom stave, bar 3. Internalism and Externalism The movement from a traditional model of interpretation to the model of corporeal navigation corresponds to the movement from internalism to externalism in the philosophy of the mind and in CS after the cognitive turn of the late s.