Configurations of musical creativity
The online composition course
by Arturo Fuentes
The online composition course
by Arturo Fuentes
last update: 27.11.24
For information and study sessions, contact directly: [email protected]
The topics are open in the manner of a workshop, depending on the participant's interest in a particular theme or suggested depending on the work or project in question. It is not necessary to follow an order.
Sound examples and bibliography will be proposed.
Sound examples and bibliography will be proposed.
Memory
Harmony
Dogmas of dramaturgy
Statistics of the work
Temporal states
Cognitivism
Dimensional scales and graduations
Behaviour - ethology of the work
Referential and self-referential systems
Agogics
Algorithmic composition
Sound walls
Attention and information
Connectors and formation of connection circuits
Networking. diffusion, publishing
All content is developed by Arturo Fuentes for teaching and discussion on topics of sound creation, as well as theoretical-philosophical, having a practical incidence on composition. In most of the topics, bibliography and practical examples are suggested. The aim is to generate an up-to-date musical thinking and practice.
- Stylistic identifier: Something that is repeated in all the pieces, it can be a rhythm, harmony or melody.
- Memorability: We do not remember everything, only one aspect - Selective perception
- Short and long term memory (neurology and creativity)
- Forgetfulness and new interpretations in the work / structure
- Associative memory and dissociative forms
- Memory and emotion: hypothalamus linking experience to sensations (neurosciences)
Harmony
- Deriving eccentric harmony from string positions (quarter tones and overtones)
- Deriving intrinsic harmony from tonal and modal chords and progressions.
- Spectral and tonal intersection
- Harmony-integrated noise, noise as harmony
- Citations and thematic variations
- Complexity and texture
- Suspension state
- Repetition of the same note
- Repetition of the same melody
- Repetition of the same harmony
- Immobility of harmonic blocks
- Immobility of chaotic movements
- Visualisation of form: photography and memory
- Form and content in the concept of figural design
- Graphic design and metamorphosis
- Typography of noise
- Mechanicity and physical motility as generators of content
- Catalogue and/or inventory and/or vocabulary of simple and complex figures
- Accuracy vs. suggested sound
Dogmas of dramaturgy
- Humour, fear, longing, emptiness
- Archaic: simplicity and complexity
- Incompleteness
- Multisemic system - the ‘no message’.
- Speculative music
- Non-all music (Lacan)
Statistics of the work
- Counting: where and when of the following elements:
- Silences
- High, low, medium frequencies
- Structural harmonic changes
- Rhythmic frequency
- Intervallic
- Pace (every time a certain effect, object, etc. appears)
- Systems tending to equilibrium
- Dissipative systems (of matter)
Temporal states
- Decorrelation
- Agglomeration
- Disintegration
- Dissipation (dynamic)
- Depth
Cognitivism
- Memory
- Repetition
- Appearance
- Surface
- Simulation
- Mimesis
Dimensional scales and graduations
- Hierarchies
- Primary and secondary pathways
- Micro and macro, singular and multiple
Behaviour - ethology of the work
- Figures that have a way of acting in the work's ecosystem
- Definition of style and formal content
- Contextualisation and recontextualisation
- What is seen on stage conditions listening - perceptual selectivity
- Writing for one instrument as if it were another - orchestral mimesis
Referential and self-referential systems
- Adaptation of other works to one's own
- Adaptation of one's own works into new ones
- Copy-paste
- Theft and recontextualisation
- Rewriting of old works, revisiting old works in new versions
Agogics
- Relative idea of tempo and evolution
- Dramatic immobility
- Speed vs. slowness
Algorithmic composition
- Listening and correction
- Combinatory
- Superimposing classical and non-classical works to generate harmonic clashes
- Recording of exploratory sessions with instruments
- Acoustic coding of electroacoustic sounds
- Electroacoustic mock-up translated into an acoustic instrumental medium
- Mixing of styles, overlapping
Sound walls
- Sculptural principle: removing in order to leave the essential
- Homogeneous material and its deconstruction
- Image of a flock: someone leads, everyone follows
- Dissipative system that tends towards order and vice-versa
Attention and information
- Superficial layers and deep layers
- Multidimensionality of dynamics
- Primordial information and secondary information (information theory)
Connectors and formation of connection circuits
- Intermediation of opposites
- Equilibrium of similes
- Differential post-structure bridges
Networking. diffusion, publishing
- Sale of work, model of a publishing house
- Review of projects for musical theatre, dance, opera; technical and artistic
- Review of projects for grants in Europe and Mexico
- Review of projects for grants in Europe and Mexico
- Networking with musicians, ensembles and institutions in Europe and Mexico
- Editing of scores, proofreading
- Copyright
- Collection and estimation of costs per project
- Production of studio recordings
- Review of theses and theoretical articles (Spanish, English, French, Italian, German, French, Portuguese, Italian, Spanish)
- Preparation - feedback - of works for composition competitions
All content is developed by Arturo Fuentes for teaching and discussion on topics of sound creation, as well as theoretical-philosophical, having a practical incidence on composition. In most of the topics, bibliography and practical examples are suggested. The aim is to generate an up-to-date musical thinking and practice.