The Composition of Experience in the Musical-Holistic Art of Dario Buccino

Nowadays music is no longer exclusively a performative art: as in the case of electronic music, it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968) do...

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Autor principal: Lombardi Vallauri, Stefano
Formato: Artículo revista
Lenguaje:Inglés
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2016
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7531
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El oído pensante de Universidad de Buenos Aires
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author Lombardi Vallauri, Stefano
spellingShingle Lombardi Vallauri, Stefano
The Composition of Experience in the Musical-Holistic Art of Dario Buccino
author_facet Lombardi Vallauri, Stefano
author_sort Lombardi Vallauri, Stefano
title The Composition of Experience in the Musical-Holistic Art of Dario Buccino
title_short The Composition of Experience in the Musical-Holistic Art of Dario Buccino
title_full The Composition of Experience in the Musical-Holistic Art of Dario Buccino
title_fullStr The Composition of Experience in the Musical-Holistic Art of Dario Buccino
title_full_unstemmed The Composition of Experience in the Musical-Holistic Art of Dario Buccino
title_sort composition of experience in the musical-holistic art of dario buccino
description Nowadays music is no longer exclusively a performative art: as in the case of electronic music, it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968) does exactly the opposite, creating a type of music which is even hyper-performative, in that it increases the requirements regarding the performing subject's awareness and free intentionality to the highest degree, and minimizes (human) automaticity. To this end, he has developed an original notation system (with many graphical ad hoc solutions), in which musical symbols are integrated with indications about the performer’s proprioceptive attitude and physical actions (which are often akin to those in experimental theatre, dance, and body art), and above all with many indications about the experiences one has to have while playing. Buccino goes beyond the approaches of Karlheinz Stockhausen’s “intuitive music” (circa 1968-70), Dieter Schnebel's Maulwerke (1968-74), Helmut Lachenmann’s “musique concrète instrumentale”, and Brian Ferneyhough’s extreme demand for effort. He radicalises an approach which is instead typical of other musical genres, where at every level form arises in composition (often extemporaneous) from the singular physical relationship between the interpreter and his or her instrument.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2016
url http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7531
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spelling I28-R250-article-75312020-11-09T23:38:09Z The Composition of Experience in the Musical-Holistic Art of Dario Buccino La composición de la experiencia en el arte musical-holístico de Dario Buccino A composição da experiência na arte musical-holística de Dario Buccino Lombardi Vallauri, Stefano Nowadays music is no longer exclusively a performative art: as in the case of electronic music, it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968) does exactly the opposite, creating a type of music which is even hyper-performative, in that it increases the requirements regarding the performing subject's awareness and free intentionality to the highest degree, and minimizes (human) automaticity. To this end, he has developed an original notation system (with many graphical ad hoc solutions), in which musical symbols are integrated with indications about the performer’s proprioceptive attitude and physical actions (which are often akin to those in experimental theatre, dance, and body art), and above all with many indications about the experiences one has to have while playing. Buccino goes beyond the approaches of Karlheinz Stockhausen’s “intuitive music” (circa 1968-70), Dieter Schnebel's Maulwerke (1968-74), Helmut Lachenmann’s “musique concrète instrumentale”, and Brian Ferneyhough’s extreme demand for effort. He radicalises an approach which is instead typical of other musical genres, where at every level form arises in composition (often extemporaneous) from the singular physical relationship between the interpreter and his or her instrument. Hoy la música ya no es exclusivamente un arte performativo: por ejemplo, la música electrónica se puede producir completamente por medio de la tecnología, sin la acción corporal en vivo de instrumentistas. Con respecto a este paradigma estético, el compositor italiano Dario Buccino (Roma, 1968) hace exactamente lo contrario, creando una música aún hiper-performativa, ya que aumenta en sumo grado los requisitos sobre la conciencia y la libre intencionalidad del sujeto actuante y minimiza la automaticidad (humana). Para ello ha desarrollado un sistema de notación original, con muchas soluciones gráficas ad hoc, en el cual los símbolos musicales se combinan con indicaciones sobre la actitud propioceptiva y las acciones físicas del intérprete (a menudo afines a las de teatro experimental, danza y body art), principalmente sobre las experiencias que se sentirán durante la ejecución. Buccino va más lejos en la línea de la “música intuitiva” de Karlheinz Stockhausen (1968-70), de los Maulwerke de Dieter Schnebel (1968-74), de la “musique concrète instrumentale” de Helmut Lachenmann, de la demanda extrema de esfuerzo de Brian Ferneyhough, y radicaliza un enfoque que es típico de otros géneros musicales, en el que la forma en todos sus niveles surge en la composición (a menudo extemporánea), a partir de la relación física singular del intérprete con el instrumento. Hoje em dia a música não é mais exclusivamente uma arte performativa: por exemplo, a música eletrônica pode ser completamente produzida por meio da tecnologia, sem ações corporais feitas ao vivo por instrumentistas. Em relação a este paradigma estético, o compositor italiano Dario Buccino (Roma, 1968) faz exatamente o oposto, criando uma música que é até mesmo hiper-performativa, pois ela aumenta ao mais alto grau as exigências relativas à consciência e à intencionalidade livre do intérprete, e minimiza a automaticidade (humana). Para este fim, ele desenvolveu um sistema de notação original, com muitas soluções gráficas ad hoc, onde os símbolos musicais são integrados com indicações sobre a atitude proprioceptiva e as ações físicas do intérprete (frequentemente afins às do teatro experimental, dança e body art), principalmente sobre as experiências subjetivas tidas enquanto toca. Buccino vai mais longe na linha da “música intuitiva” de Karlheinz Stockhausen (1968-1970), dos Maulwerke de Dieter Schnebel (1968-1974), da “musique concrète instrumentale” de Helmut Lachenmann, da extrema demanda de esforço de Brian Ferneyhough, e radicaliza uma abordagem que em vez é típica de outros géneros, onde a forma a todos os níveis surge na composição (frequentemente extemporânea) da relação física singular do intérprete com o instrumento. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2016-08-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7531 El oído pensante; Vol. 4 Núm. 1 (2016): Febrero 2016 - Julio 2016 El oído pensante; Vol 4 No 1 (2016): Febrero 2016 - Julio 2016 El oído pensante; v. 4 n. 1 (2016): Febrero 2016 - Julio 2016 2250-7116 eng http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7531/6740

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