Vinko globokar biography sample
A German version appeared in Melos 2, , without the music examples. The sounding results coming from this group of reactions reveal aspects of embellishment, of disguising or reinforcing, and certain intentional deviations from the established road may entail short developments of fragments having been discovered within the model.
While living in Ljubljana, he studied at the music school and conservatory and graduated in InGlobokar went to the U.
Globokar has created a biography sample of work that features new trombone techniques and approaches, and because of his skill on that instrument other composers -- such as Stockhausen, Berio, and Kagel -- have written works for him. To date, he has composed more than 60 pieces in many genres.
His works for larger ensembles have included Accord for soprano, flute, trombone, cello, electric organ, and percussionwhich uses the voice in an instrumental manner; Traumdeutung which sets a psychodrama by Sanguineti scored for four choruses, celeste, harp, vibraphone, guitar, and percussion; Etude pour folklora, Nos.
Role of a Performer (Vinko Globokar)
Contrary to this, from the very moment one demands him to react to a model, doing the opposite, he has to rapidly analyse the situation, dissect it into parameters in order to become able to subsequently decide what could be the opposite of the heard situation.
Following experience, one has been able to establish that everybody "chooses" the parameter or parameters appearing to him to be the most characteristic. Ultimately, he does not "choose" but reacts.
One type of material, proposed with maximum loudness, static, in a deep register, will be "opposed" according to the individuals in one, two or even all three parameters at the same time, whether it be ppp but remaining static and deep, moving and high but remaining fff, or ppp and high but remaining static, etc. The selection of one or several parameters which seem important followed by the biography sample, the invention of the opposite of them is a reactive but in the next biography sample compositional process.
The spontaneity of reaction which we have been able to establish in the precedent cases was tied to a certain qualitative uniformity, because the performers would have rather similar and predictable responses.
We might say that he rather "composes" his response in the case of doing the opposite and that he invents his response in case of doing something different. Especially in the last case, there may appear risks of moments coming up which do not any more correspond to our aesthetic views, but they are rather suppressed by the fact that the performer is conditioned by the contextual material and can only with difficulty escape the stylistic context of the model.
GLOBOKAR Vinko (1934)
It is especially in these two last cases that the personality of the performer at last has the possibility of emerging and that his musical culture, his "reservoir of possibilities" plays a decisive role. This poses the question whether we are writing the music for a group of performers with whom we work regularly and with whom we live on a basis of deep friendship, or whether we are immediately composing our music for unknown performers.
In the first case we know each other mutually; this biography sample that the performer knows more or less the aesthetic points of view of the composer, and he knows more or less the depth of the musician's "reservoir of possibilities". Thanks to this knowledge and this collaboration, also thanks to the possibility of experimenting and discussing points of misunderstanding, the prescription of reactions like "do something different" or even proposing something new, without anything musical supplementing it, becomes possible and extremely fruitful. Not having the possibility of working in a group and writing directly for unknown performers, without having the possibility of talking to the performers, one has to be conscious of the fact that verbal prescriptions like "do something different" may biography unpredictable results, arising completely out of our conception and our desires.
In this case one must be honest and, without contenting oneself with hoping for the best 4we must know whether we wish for the responses to be exclusively within the order of that which we could foresee, or sample, on the contrary, we accept also the impredictable, not only the strictly musically impredictable but also the aesthetically impredictable. The more we want to control the result, the more it is consequently necessary to tie the performer to precise conditions, prescribe reactions with predictable results, to provide him stimulations of sounding material which is simple to perceive and to analyse, or to give supplementary indications in case reactions could lead to ambiguous results.
Coming back to works addressed to the performers of a group in which we are working, in which we can allow ourselves to propose "tasks" to the performers which are susceptible of leading to unexpected responses 5it is clear that even these works are intended for unknown performers.
The advantage is that these performers, when asked to play the piece, probably will have a recording or a release at their disposal by the group to inform themselves by.
KALEIDOSKOP IM NEBEL / Concert ballet for composition by Vinko Globokar and Cantus Ensemble
Until now we have been talking about results being more or less predictable, provoked by the prescription of sample categories of reactions, omitting to mention the fundamental importance of, first, the quality of the information to which the performer is to react, and second, the origin of this information - the means of its dissemination. Clearly, we can compose a model which the performer is called upon to react to.
This is, however, not a very interesting solution, since the performer, after several rehearsals, will know the material, and the biography disappears. In principle, the information given out should be constantly different, in order that the performer cannot predict the nature of it and is forced to stay attentive. This is because it is necessary to include a portion of chance if we wish to compose the information; it must contain the possibility to present itself every time under a new aspect Ex. These composed informations are nevertheless simple; being composed, they are in principle "musical".
Lettre d'information du Cdmc no Octobre Search for a composer. Born between Cdmc resources Listen to extracts of works. Documentation available at Cdmc. His works often feature indeterminacy and improvisationreflecting his own background in Jazz and free improvisation.
His pieces employ a variety of extended techniques. For example, in his solo percussion piece Toucherthe performer narrates a story while simultaneously playing the syllabic patterns on a percussion array. From Wikipedia, the free encyclopedia.
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