Performers under the influence: The Film Sextet

Book chapter


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
AuthorsGhikas, P.
EditorsCosta Valente, A. and Capucho, R.
Abstract

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.

KeywordsMusic; structure; improvisation; indeterminacy; duality
Page range43-57
Year2011
Book titleAvança Cinema 2011
PublisherAvança Editions
Output statusPublished
ISBN9789899685819
Publication dates
Print2011
Publication process dates
Deposited18 Sep 2013
References

Books
BOULEZ, P., 1968. Piano Sonata no.3. London: Universal Edition.

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.

Works
A Woman Under the Influence, 1974. Film. Directed by John CASSAVETES. USA.

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.

Permalink -

https://repository.canterbury.ac.uk/item/86zvx/performers-under-the-influence-the-film-sextet

  • 3
    total views
  • 0
    total downloads
  • 0
    views this month
  • 0
    downloads this month

Export as

Related outputs

Unreal-time improv
Ghikas, P. 2018. Unreal-time improv. in: Glover, R. and Redhead, L. (ed.) Collaborative and Distributed Processes in Contemporary Music Making Newcastle Cambridge Scholars Publishing. pp. 147-166
Night visit
Ghikas, P. 2012. Night visit.
Unreal-time improv - Open Cycle collaborations
Ghikas, P. 2016. Unreal-time improv - Open Cycle collaborations.
Migro Records
Ghikas, P. 2010. Migro Records. UK Migro Records.
Historical documents of the Irish avant garde
Ghikas, P., Walshe, J., Roth, N., Berndt, J., Ford, F., Gilgunn, P., Graham, S., Munro, M., O’Rahallaigh, R. and Schlepper-Connolly, B. Walshe, J. (ed.) 2015. Historical documents of the Irish avant garde. USA Aisteach Institute Ireland.
Free improvisation at Cafe Oto (London) performance featuring Jennifer Walshe, MC Schmidt (Matmos), Panos Ghikas and Vicky Bennett
Ghikas, P., Walshe, J., Schmidt, M. and Bennett, V. 2015. Free improvisation at Cafe Oto (London) performance featuring Jennifer Walshe, MC Schmidt (Matmos), Panos Ghikas and Vicky Bennett. London, UK 19 Nov 2015
Historical documents of the Irish avant-garde
Ghikas, P., Walshe, J., Roth, N., Berndt, J., Ford, F., Gilgunn, P., Graham, S., Munro, M., O’Rahallaigh, R. and Schlepper-Connolly, B. 2015. Historical documents of the Irish avant-garde.
What music, what politics? How corporate work and academia made me improvise more.
Ghikas, P. 2015. What music, what politics? How corporate work and academia made me improvise more. Conference: Compositional Aesthetics and the Political. Department of Music, Goldsmiths, University of London 21 Feb 2015
Unreal-time improv: composing an instrument that builds a performance
Ghikas, P. 2015. Unreal-time improv: composing an instrument that builds a performance.
The Film Sextet: a performance malfunction and the wrong audience
Ghikas, P. 2015. The Film Sextet: a performance malfunction and the wrong audience.