Performers under the influence: The Film Sextet
Ghikas, P. 2011. Performers under the influence: The Film Sextet. in: Costa Valente, A. and Capucho, R. (ed.) Avança Cinema 2011 Avança Editions. pp. 43-57
|Editors||Costa Valente, A. and Capucho, R.|
The main concept behind my composition The Film Sextet (2004) is the use of film as an extra-musical art form through which to derive ideas on the temporal and sequential manipulation o f form and structural perception. The film editing process is thus seen as a sequencing of events in time, and the layering of visual and temporal activity as a technique of creating an evolving density of sensory events.
The research behind the Film Sextet shares a similar approach with that of Louis Malle’s practice, in his film L’ascenseur pour l’echafaux (1957), where he exposed the improviser Miles Davis to an intense ‘constellation’ of moving images, generating a ‘constellation’ of musical material to be redistributed throughout the cinematic structure. Another source of interest was Jean Cocteau’s Le Sang D’un Poéte (1930) in which he bypasses narrative convention by the use of dislocated music/sound and disorientates spatial perception by the geometrical ‘flexure’ of set design, camera angle and editing effects. In The Film Sextet the intention is to transfer this concept of sensory illusion to the sphere of musical performance by devising mechanisms which guide the performers though a synthesis of traditional, mobile and audio notation, reflexive choice-making and external input/direction.
The Film Sextet expands on the notion of duality by creating three strands of duet interaction. The structure comprises of a combination of events fixed in time and events generated by a chain of information derived by the unfolding of film structures in the form of soundtracks played in the performers’ headphones. The element of indeterminacy is expressed through a complex and unpredictable interfusion of real-time choice-making and extra-musical structures. The element of duality appears in the subjective interpreting process through the rules of choice-making but is also manifest in the composed instrumental parts.
|Keywords||Music; structure; improvisation; indeterminacy; duality|
|Book title||Avança Cinema 2011|
|Publication process dates|
|Deposited||18 Sep 2013|
CARNEY, R., 1994. The Films of John Cassavetes. Cambridge University Press, ISBN-13 978-0-521-38115-3, 322pp.
CHION, M., 1990, Audiovision: sound on screen (Transl. C. Gorbman), English, Columbia University Press, ISBN 0-231-07899-4
MALLARME, S., 2000, Mallarme on CD-ROM: Un Coup de des jamais n'abolira le hasard [CD-ROM], English, Legenda Publishing, ISBN-10: 1900755491, 76pp.
GHIKAS, P., 2005, PhD in Composition. Thesis title: Forming a musical language: compositional research on notions of structure and material and on associations between music, poetry and film. Senate House, University of London, pp93.
STACEY, P. F., 1987. Boulez and the Modern Concept. University of Nebraska Press, ISBN-13: 978-0803241831, 151pp.
Ascenseur pour l’echafaux, 1958. Film. Directed by Louis MALLE. France.
Ascenseur pour l’echafaux O.S.T. 1990. Audio CD. Miles DAVIS. Polygram Records.
The Film Sextet, 2011, Digital Release, Audio Download, MIGRO SAMPLER, Migro Records.
The Film Sextet, 2010, Video Release, Youtube Channel: MigrantSoundVideo - http://www.youtube.com/watch?v=yo5eqLiuHc0
From Here to Eternity, 1953. Film. Directed by Fred Zinnemann. USA
Le Sang d’un Poète, 1930. Film. Directed by Jean COCTEAU. France.
Un Chien Andalu, 1927. Film. Directed by Luis BUÑUEL. France.
2views this month
0downloads this month