Improvised sections may be processed through computers (and so notated) and become subject to further analysis, i.e. one can search for similar patterns in the original and the improvised sections (those possibilities will be discussed during the paper). Another aspect of my thought is how to bring analysis into performance, i.e. make our (analytical) thought processes demonstrable. The concept of foreground, middleground, and background will be used to reflect the different levels of operation of the process of hearing. Aesthetic considerations will be brought into debate both concerning the analyses of the Bach and the analyses of my own work i.e.the improvisations themselves.
By using the example of Bach, issues of notation, temporality, expressiveness,
the element of the sacred / secular, and communication of the music / meaning,
which formal Analysis sometimes overlooks, will be brought into focus.
Analytical methods will be applied throughout the dissertation, and in
that light it can serve as a rationalization of the process of creation,
and of the birth of an artefact.
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