Cecilia Arditto Delsoglio

Maslíah, Leo

3/3. The score as the world -talk about my music at the University of Berlin, May 27th 2010

Conference about my music at the University of Berlin, May 27th, 2010. Part 3/3

Music scores bring together diverse elements into a unique storyboard. Lights, movements, objects, visuals, and space design. By the fact of being written down on a music score, they are under the light of a musical logic. A musical score is not only a method of registration of actions and sounds, but it is mainly a big grid from where to conceive and appreciate certain ideas. It is not only about writing musical sounds but about organizing musical thoughts, even if they don´t sound.
Music notation is the best tool to write down events into a timeline. Sounds are fragile and very abstract, so it is necessary to use a very efficient tool to make them exist. Notation makes fragility strong, using a precise graphic vocabulary to talk consistently about abstract things. I find this particular relationship between the fragility of the materials combined with solid structures, the foundation of all my music.
Even having the perfect score and the perfect performer, controlling the way water falls, a snare drum echoes, a radio speaks, the way a cello bow bounces it is never going to be completely predictable. There will be inevitably some deviation. We know that musical notation is about what is written, but I think that is also about what cannot be expressed, a margin of unexpectedness. This margin of error is also the margin for freedom. Music is what is written in combination with what is being played. Notation doesn’t describe, notation doesn´t command. Notation invokes.
Musical scores analyzed, classify and organize events in a timeline. The paradox of this enormous laborious activity is that the outcome is always a fresh live event, produced in the same instant of the performance.

The scores […] are sometimes an essential tool for composition. There are things that no composer would have been able to do all of a sudden, without looking at the paper, step by step, what is happening between the different things that he or she comes up with. This may be one of the most important things which distinguish Western music from other cultures.

Leo Masliah




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Artículo de Leo Maslíah

[gtranslate]Leo Maslíah – “La picapiedrización de los supersónicos” (Polémico artículo sobre algunos problemas de la música contemporánea)

Este artículo está demasiado obsesionado con el tema de la tonalidad para mi gusto. Pero más allá de la diferencia de perspectiva, creo que es un artículo muy lúcido que pone en evidencia los problemas de la música contemporánea, que los que nos dedicamos a esto, sufrimos cada día.

[…] hay que tener en cuenta que las partituras, además de funcionar como registro de lo que
se compone, tienen una función muy importante como instrumento musical. Hay cosas
que no se pueden tocar si no se tiene un papel adelante. Y en esta función de
instrumento también son muy usadas en la música llamada popular. Y las partituras
también tienen otra función, son una herramienta a veces imprescindible para la
composición. Hay cosas que ningún compositor habría podido concebir de un saque, sin
ir viendo en un papel, paso a paso, lo que está pasando entre las distintas cosas que a él
o a ella misma se le van ocurriendo. Eso tal vez sea una de las cosas más importantes
que distinguen la música occidental de otras músicas de otras culturas. Es mucho más
definitorio que la tonalidad, que generalmente se tomo como rasgo identificatorio de
nuestro sistema musical más allá de que no se use o se finja no usar en la música
llamada contemporánea […]

Artículo completo  http://ilcantosospeso.blogspot.com/2008/02/leo-maslah-la-picapiedrizacin-de-los.html


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