Ricardo Mandolini: deepening musical heuristic (creative process) by criticism of musical semiology of J. -J. Nattiez

• Grant number: 09/07547-0
• Support type: Research Grants - Visiting Researcher Grant - International
• Duration: July 19, 2009 - July 25, 2009
• Field of knowledge: Linguistics, Literature and Arts - Arts - Music
• Principal researcher: Jose Augusto Mannis
• Grantee: Jose Augusto Mannis
• Visiting researcher: Ricardo Mandolini
• Visiting researcher institution: Université Lille 3 - Sciences Humaines et Sociales, France
• Home Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

Prof. Mandolini's visit constitutes a continuation of the international cooperation begun in 2008 (Proc. Fapesp 2008/ 04361-0) involving UNICAMP (Brazil), UNTREF (Argentina), Centro Nacional de la Musica - sede RICMA: Red de Investigación y Creación Musical of America (Chile), the Conservatoire National Supérieur de Musique et de danse de Paris (CNSMDP) and the University of Lille III (France). The project with Professor Mandolini is directly linked to visits by Professors Alexandros MArkeas (Proc. FAPESP 2009/07424-5) and Claude Ledoux (Proc. FAPESP: 2009/061596) in July/2009. As such, 3 applications have been sent to FAPESP which are inter-related and which all have received funding from the French government's Préfalc program. Entitled "Investigation, creation et patrimoine musical en Amérique Latine", the project is coordinated by Gretchen Amussen, Deputy Director for External Affairs and Communication at the Paris Conservatoire. This particular request involving Professor Mandolini seeks to provide continuity between his teaching and local research, and is linked to disciplines involving the creative process at Univ. de Lille III. This request is integrated into the creative process and the field of performance practice through Unicamp's (IA/Depto of Music) thematic project FAPESP 03/01253-8 "Computador como Ambiente de Criaçao e performance musical" coordinated by Dr. Silvio Ferraz (03/2004 to 03/2008), with J.A. Mannis and Profa. Dra. Denise Garcia); the project « Faces da Música Eletroacústica Brasileira: o Grupo Música Nova e seu pioneirismo na utilizaçao de recursos eletroacústicos" (2005-2006) by Profa. Dra Denise H.L. Garcia and Clayton R. Mamedes as well as "Confluências composicionais em estéticas distintas - musica brasileira atual"(2005-) coordinated by Professor Dr. Silvio Ferraz. Today's proposal will also improve other local research projects, such as "A improvisaçao coletiva e o desenvolvimento de uma técnica de composiçao em Pauline Oliveros: das Sonic Meditations ao Deep Listening" and "A composiçao com luz e sombra: analyses de músicas de Luiz Carlos Csekö" presented to the Master's degree program by Denis Koishi and Jefferson Ribeiro and tutored by J.A. Mannis. For his second visit to UNICAMP, Prof. Mandolini will enlarge on his previous work in the field of Musical Heuristics, deepening the approach to topics related to musical heuristics by trying to maintain a critical approach to Jean-Jacques Nattiez's musical semiology. We will come back to reflections on the Criticism of Pure Reason and in particular to the structure of transcendental criticism in general. In the same way that units of comprehension (indispensable in acquiring knowledge and transmitting it) can interact with heuristical units of reason to introduce a systematic approach to knowledge (indispensable to allow for the development of science) musical analyses derived from semiology that are applied to a work must co-exist with the heuristical realization of its reconstruction. This is necessary to reconstitute fluidity and a liveness in art. Whereas analyses ensure that salient moments of a work can be recognized, heuristical reconstruction, on the other hand, re-establishes the specific continuity of a work by proposing another way - synthetic - of taking it on. In this way, hermeneutics and heuristics can establish an interactive and complementary articulation, the accomplishment of which is the gift, and the even more important promise that critical transcendental philosophy has given us. Musical heuristics allows us to extrapolate the dialogue Adorno-Cage wherein musical creation principles although presented as opposites are, in fact, multidimensional approaches to a single work. Sessions will be held at Unicamp from July 20-24. The public includes university researchers, students, teachers, and outside interested audiences. (AU)