Solfèges, images, inventions: The different paths of sound imaginary
This paper aims to reflect on processes and mechanisms that can operate in musical creation, from the conception of a subjective idea to its accomplishment. Therefore, we seek a dialogue between the notion of “solfège” and the different moments of Gilbert Simondon’s “cycle of images” (2016): (1) ima...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Revista Música Hodie (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.ufg.br:article/78572 |
| Acceso en línea: | https://revistas.ufg.br/musica/article/view/78572 |
| Access Level: | acceso abierto |
| Palabra clave: | solfège composition sound imaginary imaginary instrument technical object Gilbert Simondon solfejo composição imaginário sonoro instrumento imaginário objeto técnico |
| Sumario: | This paper aims to reflect on processes and mechanisms that can operate in musical creation, from the conception of a subjective idea to its accomplishment. Therefore, we seek a dialogue between the notion of “solfège” and the different moments of Gilbert Simondon’s “cycle of images” (2016): (1) image-anticipation, (2) lived experience, (3) image-memory, and (4 ) invention. At the same time, bringing these reflections to the technical dimension of composition, we propose a dialogue between “imaginary instrument” (LACHENMANN, 1996; PADOVANI, 2017) and “technical object” (SIMONDON, 2020), addressing technological tools and several creative supports, and illustrating some of the ideas through our compositional processes. |
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