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"MUSICOLOGY"
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Muysc ty, quycac ty aguene 1: tejidos entre música, cosmogonía y naturaleza en cantos muiscas reterritorializados
A partir de una perspectiva no dicotómica entre cultura y naturaleza, se estudia un repertorio de ocho cantos presuntamente muiscas provenientes de la Sierra Nevada de Santa Marta. Estos cantos se encuentran en procesos diversos de apropiación y reterritorialización por parte de comunidades muiscas actuales, que son apoyados directamente por el autor. La manera de abordar este repertorio parte de un análisis musicológico sistemático que genera enlaces con la cosmogonía muisca y el mundo natural al que hacen referencia los cantos, para explorar algunas correlaciones entre estas dimensiones. Según este análisis, se exponen algunas similitudes entre elementos sonoros de los cantos y aspectos del comportamiento etológico de los animales a los que se canta. Estas correlaciones expresan formas de movimiento circulares, en espiral y ondulatorias recurrentes. A su vez, las similitudes motívicas musicales entre los cantos corresponden a la lógica muisca de organización del entorno y dan cuenta de aspectos fundamentales de la lingüística y la cosmogonía muisca. Se concluye con la evidencia de un alto nivel de coherencia entre diferentes dimensiones de la cultura, como lo musical, lo cosmogónico y lo ecológico, y con la exploración de las posibles funcionalidades de estas relaciones desde el pensamiento mítico, la ritualidad y la memoria del territorio.
Journal Article
Theorizing sound writing
An eclectic and experimental exploration of sound from the vantage point of writing.
Book
From Prop to Producer : the Appropriation of Radio Technology in Opera During the Weimar Republic
This thesis explores the appropriation of radio technology in opera composed during the Weimar Republic. It identifies a gap in current research where opera and radio have often been examined separately in the fields of musicology and media history. This research adopts a case study approach and combines the disciplines of musicology and media history, in order to create a narrative of the use of radio as a compositional tool in Weimar opera. The journey begins with radio as a prop on stage in Ernst Krenek’s Jonny speilt auf (1927) and ends with the radio as a producer in Walter Goehr’s radio opera Malpopita (1931). Max Brand's Maschinist Hopkins (1929) provides an interlude between these two works, where its analysis serves to pinpoint compositional techniques used in radio opera. The opera case studies reflect the changing attitudes towards technology and media in Weimar musicology, as shown in the journal, Musikblätter des Anbruch (1919-1937). The purpose of this research is to view opera through a lens of media history and in doing so it considers debates on entanglements within media history. The appropriation of radio in Weimar opera shattered the borders of traditional performance practice, resulting in the merging of these two media. The analysis explores the materiality of the radio as a prop on the stage and subsequently the lack of materiality within radio opera, by exploring the application of the so-called ‘invisible voice’ in order to compensate for the lack of visual stimuli. This thesis will show radio’s journey from prop to producer in Weimar opera performance, mirroring the changing attitude towards radio within Weimar musicology. It will offer new perspectives on existing analyses by placing Jonny spielt auf and Maschinist Hopkins within the context of media history, and it will offer the first academic examination of Goehr’s Malpopita, contributing to the narratives of both opera and radio history.
Dissertation
“I have been compromised. I am now fighting against it.” Ligeti vs. Kubrick and the music for 2001: A Space Odyssey
Since the release of Stanley Kubrick’s 2001: A Space Odyssey in 1968, there have been several different accounts of how György Ligeti’s music (Requiem, Atmosphères, Lux Aeterna and Aventures) came to be in Kubrick’s film and much discussion as to whether Ligeti had been treated fairly. One often repeated version asserts that his works were used without permission and that he got only $3,000 in the end. With the help of contemporary witnesses, letters and previously unexploited papers from the György Ligeti collection at the Paul Sacher Foundation in Basel (Switzerland), as well as the findings of Other Author, this article tries to reconstruct the events and traces Ligeti’s legal steps, simultaneously looking at the composer’s changing attitudes towards the film over the years.
Journal Article