The composer as a co-creator of bridges between society and contemporary music: A matter of dialogue?
The source and target domain of this research project is situated at the crossroads of composition, performance and education. The idea of this investigation is to develop field research on the social projects I'm engaged in both in Brazil and in Belgium. I intend to perform, on a long-term basis, a series of compositions for the various ensembles present in these projects. The interaction with these contexts will help me to delve into the three key aspects of this research: my development as a composer by engaging in these different social projects, the impact my composition could have on students' perception and musical development, and finally how this process can help to build a bridge of communication between composer and the majority of society. Would it come precisely from the underprivileged strata of society, the answer to the current state of indifference of most people in society to contemporary music?
In traditional opera creation, roles are strictly defined: the composer and librettist create the performance “text” - the score and libretto - usually prior to the gathering of the performing forces. The composer and librettist are the primary creators, with the greatest degree of artistic freedom. The stage director and the design team have some creative liberty, while relying on the given text dictated by the primary creators. The conductor and the rest of the musicians are interpreters, their roles usually strictly defined, with limited creative freedom. However, in new opera creation, the roles of creator, interpreter and performer are often significantly more loosely defined. In my research, I shall explore the ways in which a group of artists collaborate to create a new work, and compile a suggested working method for a co-created opera production, with a focus on different types of shared leadership.
This research project presents both practical and theoretical strategies for the investigation of technology mediation in the context of experimental sound-based practices. For that, terminology and methodology are proposed in order to determine how, on an “object-specific” basis, creative processes are impacted when technical objects become agents in art-making. The notion of ’experimental’ is also a theme, by proposing a connection between the term and Heidegger’s concept of “enframing” (Gestell).
Performing in the 21st century Salon project is focused on historically informed performance practices with the aim to explore and test new creative techniques and performative concepts- where much more effort has to be done to communicate with present audiences.