Le musiche d’arte del XXI secolo in prospettiva storica: Atti della prima giornata di studio, 13 aprile 2021

Un quinto del XXI secolo è già alle nostre spalle e l’insieme delle musiche d’arte composte dal 2001 ad oggi è a dir poco imponente. Le domande che si può porre uno storico della musica dinanzi all’attuale scenario sono molteplici. In che modo le musiche d’arte d’inizio Duemila si distinguono – se davvero si distinguono -- da quelle del tardo Novecento? Si deve parlare di un Novecento di longue durée oppure emergono fattori di discontinuità? E l’eventuale discontinuità tra XX e XXI secolo è in qualche modo paragonabile alle maggiori svolte storico-musicali registrate, per esempio, a cavaliere tra Cinque e Seicento oppure tra Otto e Novecento? E ancora: come interagisce il corpus odierno di Western Art Music con le musiche ‘altre’? E in che rapporto esso si pone con le varie arti contemporanee, dalla letteratura alle arti visive, dal cinema all’architettura? Qual è l’impatto sulla creatività musicale delle nuove tecnologie, di Internet, dei new media, dell’intelligenza artificiale? Come si ridefiniscono i rapporti tra committenti, editori, compositori, interpreti, critici, fruitori? Come si può promuovere la musica dal vivo durante un’emergenza sanitaria? Alcune indicazioni e numerosi spunti di riflessione emergono nei saggi del presente volume che raccoglie gli atti di un incontro di studi promosso dall’Università di Napoli “Federico II” e svoltosi in streaming il 13 aprile 2021. Vi contribuiscono Marco Bizzarini (Oltre il postmoderno), Gianluigi Mattietti (Realtà virtuali e aumentate), Mauro Montalbetti (Teatro musicale, cronaca e politica in Haye: le parole la notte), Lisa La Pietra (La pluridimensionalità della voce nel XXI secolo), Tommaso Rossi (Organizzare la musica durante la pandemia), Simona Frasca (La canzone napoletana fra vecchie tecnologie e pratiche contemporanee). È prevista la pubblicazione di un secondo volume che offrirà ulteriori approfondimenti.illustratorA fifth of the 21st century is already behind us and the set of art music composed from 2001 to today is impressive. The current scenario raises many questions. How does the art music of the early 2000s differ - if it does - from that of the late twentieth century? Should we consider the twentieth century of ‘longue durée’ or do factors of discontinuity emerge? And is the alleged discontinuity between the twentieth and twenty-first centuries in some way comparable to the major turning points in music history, such as, for instance, those that happened between the 16th and 17th centuries or between the 19th and 20th centuries? And again: how does the contemporary corpus of Western Art Music interact with other genres? And how does it relate to the various contemporary arts, from literature to the visual arts, from cinema to architecture? What is the impact on musical creativity of new technologies, the Internet, new media, artificial intelligence? How are the relationships between organizers, publishers, composers, performers, critics, and audiences redefined? How can live music be promoted during a health emergency? Some indications and numerous insights emerge in this volume which collects the proceedings of a study meeting promoted by the University of Naples "Federico II", which took place in streaming on April 13, 2021. It features Marco Bizzarini (Beyond the postmodern), Gianluigi Mattietti (Virtual and augmented reality), Mauro Montalbetti (Musical theater, current events and politics in the opera Haye: le parole la notte), Lisa La Pietra (The multidimensionality of the voice in the 21st century), Tommaso Rossi (Organizing music during the pandemic), Simona Frasca (The Neapolitan song between old technologies and contemporary practices). A second forthcoming volume will add further details

IM-Medea: posthumansim and remediation in music theatre

This thesis is the part of a practice-based research on experimental music theatre. It investigates the theoretical notions of posthumanism, cybernetics and remediation, when practically applied on new music theatre. The research aims to address questions such as: “Which theoretical principles of cybernetics and posthumanism could contribute to the compositional practice of new music theatre?” and “Which tools of interactive art and immersive creative practices could be employed for the making of new music theatre?”. The research took place in the period between October 2014 and September 2018 and resulted in this thesis, which is divided into two parts. The first part is an introduction to the theoretical context of this research. It lays out the intentions and rationale of the project; it presents the research questions with the methodology used to address these questions. Furthermore, it analyses the theatre play upon which the practical work was based: Heiner Müller’s Despoiled Shore Medea Material Landscape with Argonauts. The second part is essentially the presentation of the practical works (i.e. experiments and performances). These works aim to embody the intentions, theory and methodology of the first part. The second part closes with conclusions and recommendations for further research in this field. This practice-based research is focused on creating new immersive music theatre experiences, involving novel interactive and cybernetic methods between music, technical system, performers and audiences. Its substantial original contribution to knowledge is in the development of a series of methods for devising cybernetic and ecosystemic music theatre performances based on behavioural interactions between performers, audience and technology. Through the new aesthetic and dramaturgical possibilities that emerge from these works, the research contributes a theoretical understanding of the phenomenological and experiential aspects of these interactions. It is a generative type of performance orchestrated by computational and interactive processes, in which the author ceases to be the composer exclusively. The research investigates the new dynamic relationships established between performers, audience and technology in this new performance context. In addition, the theoretical contextualisation situates this type of practice in the wider aesthetic and philosophical milieu