Artistic Research Proposal
Name: Neus Kaori Fornós Ohnuma
Main subject: Jazz Composition
Main subject teacher: Paul van Brugge
AR domain: Composition
AR coach: Hans Koolmees
Date of submission: 23th of August 2016
Subject: Use of electronics in narrative music
Title: Developing musical tools by analysing pieces of the extended music literature of composers who used electronics such as tape , devices or live electronics.
After one year of researching about what is Narrative music, what is Jazz, what is Polystilism and etc… I’ve got to the 1st conclusion that the aesthetics or music style, depends on the organisation of the musical parameters.
I am a person who had and still have joy with popular music and academic music. Popular music has also it’s own function and that’s the music that I hear most of the time and is connected to me. And I found it important. If I want to work with the concept of humanism, by using some musical elements that the audience and specially me, feels kind of connected, then I think I should use some musical elements/approaches from the popular music.
Therefore I want to develop my musical language to a direction where I can combine the essence of the popular music with the academic one, and see where will lead me.
For exemple, the technique of a fugue within the classical repertoire, during the centuries it developed in different levels: the distribution of the pitch, the distribution of the rhythm, the dynamics… as further is the technique of the fugue from the moment it settled down, the the rules varied depending on the historical period, and now what is left is the essence of the fugue and how each composer deals with it.
In the old times there were a clear musical schools and the main academic music was following a line. Slowly this line was broken by cohexisting different ‘music styles’ or ‘aesthetics’.
In the Jazz field the fugue, as many other classical techniques, has been also used, not so developed as in the classical one, but still some players or composers were and are interested and trying to find there own way to make it personal.
Nowadays, after all our musical background and environment, composers we deal with creating our own rules. Some of us keep the tradition and work with it, even so, the approach is completely personal.
After the 2nd IC and discussing about the subject of Polistylysm, I am not interested in copying or creating a style. What I was looking for it was to learn different tools for creating my music, and I’ve already analysed many scores and techniques from different composers since I was 16 years old (from early music till XX century composers). What I feel now is a lack of knowledge within the electronic music repertoire. I want to expand my knowledge in it.
Since I started studying my bachelor I was interested in electronic music and in my last pieces I somehow included them. My thesis in my last year of bachelor was about electronics in a Big Band setup. Now I would like to continue with this subject: Use of electronics in Narrative music. Electronics in My Music.
How can I, through the analysis of the relation between narration and the use of electronics in the works of contemporary classical composers, develop my own musical tools/techniques related to those subjects, leading into a more personal musical language?
El mundo Kaori.
In two years time I would like to have a developed personal and unique musical language.
I want to develop my tools as a program/narrative composer.
I want to improve the way how I create atmospheres.
I want to develop the structures and forms of my pieces.
I want to develop my knowledge and use in electronics.
The intervention cycle:
TITANS, duo for Upright bass and 6 strings bass guitar.
From the musicians, the exam committee, audience, fellow composers and myself.
What I would like to incorporate in my music is the addition of electronics as an extension of an instrument.
Serène, piece for solo flute and tape 1978
Variations pour une porte et un soupir 1968 – Analyse the different sound timbre of the sight.
Symphony pour un homme seule 1950 – Treatment of the text
Como una ola de fuerza y luz 1972 – Musical and narrative relation between singer/piano and tape
Chant d’Ailleur, for soprano and computer, 1991 – Musical and narrative relation between singer and electronics
TBA: 1 piece for my final exam performance.
Line up: Soprano/actress, Viola, Multi-reed (Tenor sax, clarinet & bass clarinet), Drum kit, Double bass Electronics & Keyboard.
El Mundo Kaori, 1st story.
I will report my research process with literature, musical literature and if is possible, in audio examples.
I will use scores from internet or the library, same as the recordings of the pieces that I am going to analyze.
Paul van Brugge, Peter-Jan Waggemans, Hans Koolmees, René Uijlenhoet, Carles Marigó, Albert Pueyo, Carmelo Emmapati, among others.