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COURSE ON LISTENING PROTOCOLS

14th, 28th Setember and 5th October 2013

COURSE ON LISTENING PROTOCOLS

This course is set forth as a space for thought within the context of contemporary music; a timeless journey where the musicologist Emilio Lede proposes creative itineraries through the history of music with the purpose of unravelling some of the key concepts that constitute musical creation through the ages.

It will include an introduction to some of the key concepts in music creation and references will be provided for a complete and contextualised listening experience, paying attention to concentration, receptiveness and listening, establishing analogies among different authors or providing perception strategies that will endow the participants with new tools and more insight to understand contemporary music.

During the sessions relationships will also be established with other art forms, especially with visual arts. Moreover, the attendees will gain first hand knowledge of the creative process of music by participating in two get-togethers with composers and during the open rehearsals and concerts by Vertixe Sonora Ensemble.

Emilio Lede Abal is musicologist and professor of Analysis and History of Music at the Professional Conservatory of Music of Pontevedra.

DIRECTOR: Emilio Lede

COORDINATOR: Cristina Trigo

DATES AND TIMES

Saturday, 14 September       Elements of Music

                                              CAUSAL: Meeting with the composers Martín Herraiz (Brazil) and Zesse Seglias (Greece)

Saturday, 28 September       Tradition and Modernity / Entering and Exiting Darmstadt

Saturday, 5 October              Post-modernity and the multi-media environment

                                              CAUSAL: Meeting with the composers Alireza Farhang (Iran), Charles-Antoine Frèchette (Canada) and Hugo Morales (Mexico)

Times: 11:00 am to 1:30 pm

RECIPIENTS: The course is addressed to students and professionals from the field of music and to all those persons who may be interested.

SEATS: 40

INSCRIPTION AND FEE: Applications may be submitted until 10 September by calling the Educational Activities and Projects Services, or by e-mailing cgac.actividades@xunta.es, specifying name, address, telephone and field of study or work. Once the inscription has been confirmed, the persons selected will receive instructions for the payment of the inscription fee. The inscription fee is 30 € (25 € for students and Friends of the CGAC).

ORGANISATION: CGAC and Vertixe Sonora Ensemble

COLLABORATOR: University of Santiago de Compostela

COURSE CONTENTS

Elements of Music

The first session is an overview of the elements that constitute music, in other words, melody, rhythm and meter, harmony, texture or form and, above all, timbre, the basic element of the music of the 20th century.

Music examples from Felix Mendelssohn, Béla Bartók, Leoš Janacek, Paul Hindemith, Brian Ferneyhough, Karl-Heinz Stockhausen, Morton Feldman, György Ligeti, José María Sánchez-Verdú, Pierre-Octave Ferroud, Anton Webern, Maurice Ravel, Claude Debussy, Gérard Grisey, Claude Le Jeune, Salvatore Sciarrino, Helmut Lachenmann, Ramón Souto, Heinz Holliger, Benjamin Britten, William Byrd or Alberto Posadas.

Visual relationships with works by Pablo Picasso, Andrea Palladio, André Derain, William Hogarth, David Hockney, Hiroshige, Vincent van Gogh and Claude Monet, and with the literature of Antonio Machado, Fernando Pessoa and Julio Cortázar.

Tradition and Modernity

When is a work modern? When does it have historical relevance? When is it considered new, even if it does not have historical consequences? When is it in style? To what extent is the intrinsic quality of a work important, regardless of its modernity? We will attempt to provide answers to all these questions during this session that will deal with the coexistence of tradition and modernity through the ages.

Music examples from Georg Philipp Telemann, Johann Sebastian Bach, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Richard Strauss, Arnold Schönberg, Igor Stravinsky, John Cage, Hans Werner Henze and Ludwig van Beethoven.

Visual relations with works by Thomas Gainsborough, Alexander Calder, Vassily Kandinsky, Robert Delaunay, Piet Mondrian, Paolo Ucello, Piero della Francesca and Matthias Grünewald.

Entering and Exiting Darmstadt

The Darmstadt courses were the centre of the avant-garde musical movement during the fifties. It was a fascinating and radical era that placed special emphasis on structure; the architectural element of music. This extreme intellectualisation of sound art caused a reaction from those who considered that physical, sensitive and emotional sound was the basis on which a musical work should be built.

Music examples from Olivier Messiaen, Pierre Boulez, Karl-Heinz Stockhausen, Luigi Nono, Morton Feldman, Giacinto Scelsi, Tristan Murail and Edgard Varèse and visual relations with works by Arnold Schönberg, Francesco Clemente, Damien Hirst and Mark Rothko.

Post-modernity and the Multi-media environment

Here, on the one hand, we will deal with the dissolution of stylistic and cultural barriers that characterise post-modernity, and on the other, the new tendencies in contemporary music, specifically linked to the use of images, electronic sound and the amplification and distortion of traditional acoustic instruments.

Music examples from Steve Reich, Tristan Murail, Isang Yun, Fausto Romitelli, Peter Ablinger, Eduardo Moguillansky, Agostino di Scipio, Horacio Vaggione and Salvatore Sciarrino. Visual relations with works by Andy Warhol, Sandro Botticelli and Hans Holbein.

Rúa Valle Inclán, 2
15703 Santiago de Compostela
Spain
Ph.: (+34) 981 546 619
Fax: (+34) 981 546 625
cgac.xunta.gal