Imaginary music (PRELIMINARY ENGLISH VERSION)

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Figure 1 : drop of dream

 

Third part :
To create and compose

 

To act on the music, we can intervene in each of the levels of space that we identified: physical, acoustic, sound, musical. It consists in working on the items of this space, or on related media of descriptive information.

 

Space level

Considered items

Information media

Creative practices at this level

Physical

Vibration waves  of the molecules of air.

Program of the concert:

Organisation of the event, arrangement of the room and of the public-address system, staging.

Acoustic

Signals of the vibration waves.

Analog or digital recording. notes of intsrument tuning or parametring...

Sound capture, sampling, mixing, montage, broadcasting.

Sound

Sound objects.

Scores, MIDI control files.

Musical writing, choice of instruments and voices, instrumental or vocal performance. 

Musical

Sound beings.

Memory, conscious picturing.

Choice of the rules, improvisation, adaptation and selection.

Figure 2 : creative practices according to the levels of space

 

The creative practices can be specialized, referring to one or several particular levels of intervention of a given job: sound engineer, instrumentalist, conductor, composer, disc jockey, etc., in an indeed taylorist mind of division of work.

They can be also vertically integrated: it is the case of the improvised music and the popular music, it is also the case of the composers who want to take care of the whole chain up to the production in front of the listeners.

The interpretation has a special position: it aims at the most demanding fidelity at the intentions defined at the superior level. So the conductor interprets the composer, the instrumentalist applies himself to respect the conductor, the sound engineer looks for the hi fi ...

The creativity supposes possibility of choice, and thus error. Thus the interpretation, whether it is by a conductor, an instrumentalist or a sound engineer is a creative activity even if its purpose aims at the conformance to a predefined frame, but which leaves spaces of freedom.

 

 


 

 

 

Imaginary music ISBN 978-2-9530118-0-7 copyright Charles-Edouard Platel

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