Parametric Formalizations Studies, was begun in 2007 and finished in October 2011. It is for a small chamber ensemble, string quartet, piano, percussion, and contrabass.
It was premiered in Ljubliana in the Cankarjev Dom. The concert was produced and organized by the .abeceda Institute. The ensemble “za novo glasbo” performed the world premiere.
Ensemble “za novo glasbo” performing “Parametric formalizations studies”
Oskar Longyka, violin; Anja Kralj, violin; Jules Monnier, viola; Sebastian Bertoncelj,
celo; Miha Firšt, double bass; Lovorka Nemeš Dular, piano; Alenka Jezernik, Percussion. Conductor Tilen Draksler
This work is about the cognition of temporality based on the different ways in which memory is related to the recognition of patterns. The construction of psychological temporality will be upon the characteristics of each individual´s memory.
Memory, time, and movement are treated as three entities whose unitary relationship should be taken into account since a change in one of them affects how the others are perceived. This work investigates the integration of movement, time, and memory as inseparable entities.
This is achieved by means of a material development based on two out-of-phase overlapped patterns. I try to create an ambiguity by combining moments in which the pattern’s recognition is possible and others where the recognition is impossible. The perception of temporality will depend on whether the repeated patterns are recognized or not.
It is very common to read in musical aesthetics literature that time is the stuff of music and eventually, all composers have to do a reflection about time in their own work. It was something I had to take into consideration somewhere in the studies and is the focus of Parametric formalizations studies. In my case, I have not taken the time as a single parameter but I searched the possibilities regarding its relationship with movement. For me, it makes no sense to consider the problem of time in isolation without taking into consideration how it coexists with movement and speed. Talking about time and motion, as an integrated entity, inevitably leads to time relativity.
Parametric Formalizations studies is about creating an open perception of musical temporality through the musical formalization of the concept of time relativity.
This involves integrating the concepts of time and movement like spectralism has integrated the concepts of pitch and timbre. Just as pitch and timbre are two phenomena that cannot be studied separately, time and motion must be considered as a whole phenomenon.
The perception of movement is relative to the listener. For achieving this I create a formal system wherein the position of certain musical material with respect to its position in the movement of the work determines the parameters of other musical objects. The perception of temporality is derived from this musical object’s movement, which is very ambiguous and can, therefore, be perceived differently.
Similar works :
Parametric Neutralizations Studies
Parametric Modulations Studies
More information:
What is Cognitive-Parametric Music?
Introduction to Cognitive-Parametric Music
Divulgation writings about Cognitive-Parametric Music
Intrasensorial Synesthesia in Musical Composition
Books:
Towards an Aesthetics of Cognitive-Parametric Music
Fernando Egido 