Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Outros Autores: | , |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Per Musi |
Texto Completo: | https://periodicos.ufmg.br/index.php/permusi/article/view/42072 |
Resumo: | This paper presents reflections on two emblematic works by Iannis Xenakis: Rebonds (1987-1989) and Okho (1989). The perpetuation of the myth of the impossible as a poetic trait of this composer’s production is the main justification for the practices of simplification and self-indulgence of the percussive community around his pieces. Rebonds led us to a more direct reflection around technical solutions to challenges found in the musical text: the double appoggiatura (drag) and the rolls on the wooden instruments. In Okho, we demonstrate the dynamic process of searching for timbres on the djembé, observing the tension of what was called ‘transplanting’ compositional material from a piece written to be played with drumsticks (Rebonds) to one played with bare hands. Having Irlandini (2020), Solomos (1996), Soteriou (2011) and Stasi (2011) as bibliographical references, the main goal of this paper is to present possible performance solutions for excerpts of percussion music by Xenakis that might evoke the notion of ‘impossible’. |
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Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion worksHaciendo posible lo imposible: ideas y soluciones performativas en algunas obras para percusión de Iannis XenakisTornando possível o impossível: ideias e soluções performativas em algumas obras percussivas de Iannis Xenakis XenakisPercussionImpossibleOkhoRebondsXenakisPercussãoImpossívelOkhoRebondsXenakisPercusiónImposibleOkhoRebondsThis paper presents reflections on two emblematic works by Iannis Xenakis: Rebonds (1987-1989) and Okho (1989). The perpetuation of the myth of the impossible as a poetic trait of this composer’s production is the main justification for the practices of simplification and self-indulgence of the percussive community around his pieces. Rebonds led us to a more direct reflection around technical solutions to challenges found in the musical text: the double appoggiatura (drag) and the rolls on the wooden instruments. In Okho, we demonstrate the dynamic process of searching for timbres on the djembé, observing the tension of what was called ‘transplanting’ compositional material from a piece written to be played with drumsticks (Rebonds) to one played with bare hands. Having Irlandini (2020), Solomos (1996), Soteriou (2011) and Stasi (2011) as bibliographical references, the main goal of this paper is to present possible performance solutions for excerpts of percussion music by Xenakis that might evoke the notion of ‘impossible’.Este artículo presenta dos reflexiones sobre Rebonds(1987-1989) y Okho (1989), obras emblemáticas de Iannis Xenakis. La perpetuación del mito de lo imposible como rasgo poético de este compositor es la principal justificación de las prácticas de simplificación y autoindulgencia de la comunidad percusiva en suspiezas. Los Rebonds condujeron a una reflexión más directa sobre las soluciones técnicas a los retos del texto musical: la doble apojatura (arrastre) y los rulos en las palas de madera. En Okho, se demostró el proceso dinámico de búsqueda de timbres en el djembé, observando la tensión de lo que se denominó "trasplantar" material compositivode una pieza escrita para ser tocada con baquetas (Rebonds) a otra tocada con las manos libres. Tomando como referencias bibliográficas a Irlandini (2020), Solomos (1996), Soteriou (2011) y Stasi (2011), el objetivo principal de este artículo es repensar la noción de 'imposible'; para dirigir soluciones originales sobre la interpretación en las obras para percusión de Xenakis.Este artigo apresenta duas reflexões sobre Rebonds (1987-1989) e Okho (1989), obras emblemáticas de Iannis Xenakis. A perpetuação do mito do impossível como traço poético desse compositor é a principal justificativa para as práticas de simplificação e autoindulgência da comunidade percussiva em suas peças. Rebonds levou a uma reflexão mais direta sobre soluções técnicas para desafios no texto musical: a dupla apojatura (drag) e os rulos nas lâminas de madeira. Em Okho, demonstrou-se o processo dinâmico de busca de timbres no djembé, observando a tensão do que foi chamado de ‘transplante’ de material composicional de uma peça escrita para ser executada com baquetas (Rebonds) para uma executada com mãos livres. Tendo como referências bibliográficas Irlandini (2020), Solomos (1996), Soteriou (2011) e Stasi (2011), o objetivo principal deste artigo é apresentar possibilidades de soluções para performance de trechos de obras para percussão de Xenakis que suscitem a noção de ‘impossível’.Universidade Federal de Minas Gerais (UFMG)2023-07-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextotextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/4207210.35699/2317-6377.2022.42072Per Musi; No. 42 (2022): General Topics; 1-19Per Musi; Núm. 42 (2022): General Topics; 1-19Per Musi; n. 42 (2022): General Topics; 1-192317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/42072/38084Copyright (c) 2023 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLabrada, LeonardoChaib, FernandoLeandro, Charles Augusto Braga2023-10-14T00:15:43Zoai:periodicos.ufmg.br:article/42072Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-10-14T00:15:43Per Musi - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works Haciendo posible lo imposible: ideas y soluciones performativas en algunas obras para percusión de Iannis Xenakis Tornando possível o impossível: ideias e soluções performativas em algumas obras percussivas de Iannis Xenakis |
title |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
spellingShingle |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works Labrada, Leonardo Xenakis Percussion Impossible Okho Rebonds Xenakis Percussão Impossível Okho Rebonds Xenakis Percusión Imposible Okho Rebonds |
title_short |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
title_full |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
title_fullStr |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
title_full_unstemmed |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
title_sort |
Making Possible the impossible: performative ideas and solutions in some Iannis Xenakis' percussion works |
author |
Labrada, Leonardo |
author_facet |
Labrada, Leonardo Chaib, Fernando Leandro, Charles Augusto Braga |
author_role |
author |
author2 |
Chaib, Fernando Leandro, Charles Augusto Braga |
author2_role |
author author |
dc.contributor.author.fl_str_mv |
Labrada, Leonardo Chaib, Fernando Leandro, Charles Augusto Braga |
dc.subject.por.fl_str_mv |
Xenakis Percussion Impossible Okho Rebonds Xenakis Percussão Impossível Okho Rebonds Xenakis Percusión Imposible Okho Rebonds |
topic |
Xenakis Percussion Impossible Okho Rebonds Xenakis Percussão Impossível Okho Rebonds Xenakis Percusión Imposible Okho Rebonds |
description |
This paper presents reflections on two emblematic works by Iannis Xenakis: Rebonds (1987-1989) and Okho (1989). The perpetuation of the myth of the impossible as a poetic trait of this composer’s production is the main justification for the practices of simplification and self-indulgence of the percussive community around his pieces. Rebonds led us to a more direct reflection around technical solutions to challenges found in the musical text: the double appoggiatura (drag) and the rolls on the wooden instruments. In Okho, we demonstrate the dynamic process of searching for timbres on the djembé, observing the tension of what was called ‘transplanting’ compositional material from a piece written to be played with drumsticks (Rebonds) to one played with bare hands. Having Irlandini (2020), Solomos (1996), Soteriou (2011) and Stasi (2011) as bibliographical references, the main goal of this paper is to present possible performance solutions for excerpts of percussion music by Xenakis that might evoke the notion of ‘impossible’. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-07-19 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion texto texto info:eu-repo/semantics/other |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/42072 10.35699/2317-6377.2022.42072 |
url |
https://periodicos.ufmg.br/index.php/permusi/article/view/42072 |
identifier_str_mv |
10.35699/2317-6377.2022.42072 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/42072/38084 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Per Musi http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Per Musi http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
dc.source.none.fl_str_mv |
Per Musi; No. 42 (2022): General Topics; 1-19 Per Musi; Núm. 42 (2022): General Topics; 1-19 Per Musi; n. 42 (2022): General Topics; 1-19 2317-6377 1517-7599 reponame:Per Musi instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Per Musi |
collection |
Per Musi |
repository.name.fl_str_mv |
Per Musi - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
antoniom@fgvnf.br||permusi@ufmg.br |
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