Sonic Nuptials. Composition and Improvisation in a Double Capture: Refrain and Processes of Territorialization
Although there is an intermediate field between composition and improvisation, when discussing the differences between these two forms of musical creation the main issues that arise relate to dualities: deferred time and real time, intentionality and non- intentionality, controlled and non-controlled, predictability and unpredictability, work of art and process.
In the collaborative project we propose, these differences will be used as fuel for the elaboration of an artistic work where ideas devised in a deferred time through the creation of original scores/scripts are concretised in a performance in real time. Thus, in a singular way, the project combines composition and improvisation, approaching what has been designated “comprovisation.” Like the Deleuzian image of the orchid and the wasp, this project involves a double capture and unfolds in a composition/improvisation-becoming, giving rise to a third thing that is in between them.
There is another important component: the performer improvises using a kind of “hybrid machine” that can be summarised in the following formula: musician + acoustic instrument (with preparation) + digital instrument (microphone + interfaces + computer + patch + speakers). These elements should—all together—adapt to the performance environment.
Our proposal puts all these elements into play and takes the form of a saxophone solo improvisation performance with live electronics guided by a score/script prepared in deferred time in which new representational and solfege resources are dealt. From a compositional point of view, the project involves researching and inventing new types of scores. From the point of view of the preparation of improvisation, the project includes researching and inventing new instrumental approaches such as instrumental prostheses, modifications in the body of the saxophone, symbiosis with other instruments and accessories, and so on. Finally, the project aims to provoke, also in the audience, a new attitude of listening in a broad sense.
Furthermore, the performance should show the functioning of the acoustic-digital coupling, both at a more specialised level, with respect to the technologies involved, and at the level of physicality, with respect to the elaboration of specific instrumental techniques, appropriate to the agency of this “hybrid machine” in a continuous process of territorialisation, deterritorialisation, and reterritorialisation. Due to the complexity of this environment, this performance could be thought in terms of the dimensions of the refrain as described by Deleuze and Guattari in A Thousand Plateaus. This happens because the refrain, at the same time that it outlines a centre, is susceptible to cosmic calls, to lines of wandering. According to Deleuze and Guattari, “to improvise is to join with the world, or meld with it.”