Ircam-Centre Pompidou

Recherche

  • Recherche simple
  • Recherche avancée

    Panier électronique

    Votre panier ne contient aucune notice

    Connexion à la base

  • Identification
    (Identifiez-vous pour accéder aux fonctions de mise à jour. Utilisez votre login-password de courrier électronique)

    Entrepôt OAI-PMH

  • Soumettre une requête

    Consulter la notice détailléeConsulter la notice détaillée
    Version complète en ligneVersion complète en ligne
    Version complète en ligne accessible uniquement depuis l'IrcamVersion complète en ligne accessible uniquement depuis l'Ircam
    Ajouter la notice au panierAjouter la notice au panier
    Retirer la notice du panierRetirer la notice du panier

  • English version
    (full translation not yet available)
  • Liste complète des articles

  • Consultation des notices


    Vue détaillée Vue Refer Vue Labintel Vue BibTeX  

    Catégorie de document Article paru dans une revue
    Titre Tracking the composer’s cognition in the course of a creative process: Stefano Gervasoni and the beginning of Gramigna
    Auteur principal Nicolas Donin
    Co-auteur François-Xavier Féron
    Paru dans MUSICAE SCIENTIAE 2012, Vol. 3, n° 16
    Comité de lecture Oui
    Collation p.262-285
    Année 2012
    Statut éditorial Publié
    Résumé

    Studies of composers’ cognition are restricted by the methodological and epistemological problems with which they are associated. In order to capture the cognitive processes involved in the elaboration of an instrumental piece by Stefano Gervasoni entitled Gramigna (2009-), the authors developed different strategies for composition simulations, which were filmed in order to collect rich and structured data. These methods draw upon the precompositional documents established by the composer over the course of his creative activity, by requesting that he re-enact the operations that generated the documents and the final work. The article focuses on the first movement of Gramigna, composed in a single day, several months before this study began. During a “compositional situation simulation interview”, the composer sat before his manuscript in order to induce his recollection, simulation and verbalisation of the completed creative act. The study’s methodological and epistemological principles (including their advantages and limits) are presented first, followed by a detailed reconstruction of the composer’s action/ cognition during the writing of the manuscript. This procedure highlights the sequence of Gervasoni’s significant compositional operations and allows us to categorise and formalise the most salient features of his compositional process. These include the creation of locally applicable construction rules, the placement of concurrent rules, the attention paid to irregularities in the formalistic systems employed and tactics that blur notions of referentiality.

    Mots-clés Cognition / creativity / music analysis / method of composition / sketch studies / genetic criticism / situation simulation interview based on documentation / composition simulation / Stefano Gervasoni
    Equipe Analyse des pratiques musicales
    Cote Donin12a

    © Ircam - Centre Pompidou 2005.