Creative and interpretive possibilities based on the aural model concept
For the last centuries Western music has maintained the tradition of using notation systems, in which a composer elaborates a sound discourse and transmits it through a graphic or textual score. The interpreter has the role of interpreting the information, recognizing the symbols written on the document. We observed that these processes are based on visual sensory stimuli and the interpreter’s experience in translating the same symbols. This observation leads to a question: are there interpretative possibilities beyond the visual ones? Our previous research pointed out that the composer Rick Nance developed a concept called aural model or auditory model, in which the composer composes a piece electronically (using fixed sounds) presenting an auditory score that must be heard by a performer and reproduced on his or her instrument for an audience. According to Nance (2007), this concept introduces the “aural primacy of the compositional process, now applied to both the composer and the performer” (Nance, 2007, p. 40), in other words the composer aims to show to the performer his intentions and compositional motivations through listening instead of using a written score. The objective of this research is the description of an interpretative process. We used the piece entitled Aurora, composed by Vitor Lyra Biagioni in 2021. In this composition, different electronically modified percussive sounds were used, as well as timbres from various extended techniques applied to different Brazilian tambourines. The use of these timbres creates different challenges for performers of other instruments, in the case of this performance, a guitar. As a method, we created a mental interpretative guide, in which we first listened to the piece, looking for segmentation points. In the second step we imagined a possible sound discourse based on segmentation, selecting sounds and timbres that should be played during each session, using traditional instrument techniques and extended techniques. In this process, the interpreter tried to get closer to the sounds presented by the composer and then we recorded the interpretation. To analyze the record, we used the methodological concepts of autoethnography as described by Cano and Opazo (2014). The first video shows an initial version of the piece, in which the instrumentalist performs the interpretation listening to the aural model, but the audience listens just to the performance, without access to the model. The second video shows the performance and the aural model at the same time, so that the audience could hear the model and the interpretation and compare the versions. We observed that, using the method of elaborating a mental guide, the performer was able to get closer to the composer’s initial idea, preparing a performance with sounds similar to those of the composition. Based on that perception, we conclude that the compositional concept of the aural model may be an interesting resource for composers, as it manages to expose to the performer a guideline closer to the initial idea. For the performer, it becomes a valuable tool to a more precise performance, linked to the author’s main intentions.
Keywords: aural model, creative process, performance
Biographies
Vitor Lyra Biagioni works as a symphonic and popular percussionist and has toured several countries such as Norway, Malawi, Germany and the Netherlands. He has attended classes and masterclasses with several renowned musicians such as: Javier Calvino, Carlos Tarcha, Clarissa Severo, Ney Rosauro, Stephan Froleyks, Luiz Fernando Teixeira, Brett Jones, among others. He graduated in symphonic percussion at USP Ribeirão Preto under the guidance of professor Eliana Sulpício, holds a degree in music from Centro Universitário Claretiano, a specialization in music education from the Federal University of São Carlos, a master’s degree in music from the Federal University of Uberlândia, under the guidance of Cesar Traldi and a specialization in popular percussion from Faculdade Santa Marcelina. He is currently a music educator at the GURI project and is pursuing a doctorate in music at the State University of Campinas, under the guidance of professors Jônatas Manzolli and Danilo Rossetti.
Daniel Nogueira Parente is a musician, teacher and music producer. He is currently studying for a master’s degree in music at UNICAMP, and teaches guitar online and at Escola Drumfeel. He also works as a sideman, recording guitars and making arrangements for other artists. As a solo guitarist, he has released 3 albums and is a member of the groups Celtic and O Miolo.
State University of Campinas, Brazil – vlyra95@gmail.com, profdpnogueira@gmail.com