Garrotte, Zapateado, and Taranta
- Submitting institution
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The Royal Academy of Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- RAM028
- Type
- J - Composition
- Month
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- Year
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The three compositions submitted form a single investigation that explores the question of whether the somatic information of experiential instrumentation change the way in which musical material is created; and furthermore, what principles delimit this instrumental somatic experience so that a portion of it can be determined as musical material?
A primary aim of this project is to reveal ways in which a composer can work with ‘real’ sound materials to make music, and, as a corollary to analyse how the search for instrumental identity directly affects the composition process.
The cycles of pieces presented are themselves a wall of resistance – both compositional and performative. The project aims to ensure that the compositional processes and the performative aspect were strongly related, framing the investigations in the palpable domain of sound in which, following Italian composer Pierluiggi Billone, “Any vibration could be a centre of relations.”
The main reason for composing a series of pieces about the guitar is the opportunity to work directly with an instrument, expanding the operational possibilities and, consequently, the chances of finding technical configurations that offer a distinct and unique guitar sound. The musical material originated through practical work with the instrument, as well as the study and reconfiguration of specific techniques of both classical and flamenco guitar.
The pieces in the cycle are:
• ‘Garrotte’ for guitar and clarinet. Concert premiere, by MusicStudio Ensemble, Tchaikovsky Hall, Moscow, 2018. The Youtube published versions are studio recordings, performed by Rubens Askenar.
• ‘Zapateado’ for two guitars. Performed by Vickers Bovey guitar duo, at The Crypt on-the-Green, London, October 2015.
• ‘Taranta’ for solo guitar. Performed by Rubens Askenar and published by the Incipitsify YouTube Channel, 22 June 2015.
- Author contribution statement
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- Non-English
- No
- English abstract
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