Day two of the music conference delved into the fascinating world of silence and space in music, exploring how these seemingly simple concepts can profoundly impact the creation and interpretation of musical works. The day was a symphony of diverse perspectives from musicians, composers, and researchers, each offering their unique insights into the intricate relationship between sound and silence.
The Art of Silence: A Deeper Understanding of Musical Language
From Tōru Takemitsu’s evocative Rain Tree Sketch to Toshio Hosokawa’s complex Etudes, Ikuko Inoguchi illuminated the power of ‘ma’, the Japanese concept of silence or gap, in shaping the sonic landscape. This unquantifiable sense of timing, passed down through generations, is crucial for understanding the essence of Japanese music, a point further underscored by Inoguchi’s insightful connections to Western composers.
In a fascinating parallel, Gabriela Mayer introduced the concept of the ‘speaking rest’ from 18th and 19th century music, highlighting how silence acts as a powerful rhetorical tool for conveying meaning and emotions. This exploration of the unspoken is central to her book, The Art of the Unspoken, a compelling work that sheds light on the artistic motivations of musicians in the era of Bach and Mozart.
Embracing the Body: Exploring the Physicality of Music
The afternoon shifted focus to the physical embodiment of music, examining how the body plays a pivotal role in both the creation and performance of musical works.
Francesco Venturi, a composer-singer, shared his unique approach to experimental performance practice and voice training. Through the compelling metaphor of the Greek messenger, he emphasized the importance of disembodying and reembodying to unlock the full potential of the voice, a process that involves understanding the complex interplay between the physical and the artistic.
Laura Tranini, a flautist, presented a captivating model for flute pedagogy that draws inspiration from the human singing voice. By connecting the body and mind through the instrument, she challenges traditional flute techniques, advocating for a more holistic approach that embraces rhythmic integrity and breath awareness. This approach, as she explained, is the foundation for her forthcoming method, which aims to empower flutists to fully express themselves through their instruments.
The Dance of Tradition and Innovation: A Tapestry of Musical Influences
The conference further delved into the intersection of tradition and innovation through two compelling presentations that showcased the artistry of seasoned musicians.
Krishna Nagaraja, a hardanger fiddle-player and composer, offered a captivating journey through Norwegian folk music, emphasizing the intricate dance between tradition and personal expression. He emphasized the importance of embracing the instrument’s unique voice and letting the music guide the performer, a concept beautifully captured in his phrase: “the tune plays you eventually”. His performance of Vandreslått (‘Roaming Tune’) seamlessly blended folk elements with shimmering string crossings and polyrhythms, showcasing the richness of his musical heritage.
Pete Yelding, a multifaceted musician skilled in sitar, cello, and vocals, revealed the process of inhabiting an instrument. His journey as a student of the last surviving ustad of the Lucknow-Shahjahanpur Gharana lineage led him to transcend the limitations of individual instruments and embrace the uniqueness of his own musical voice. His captivating performance, moving effortlessly between cello and sitar, demonstrated the remarkable possibilities that arise from crossing boundaries and embracing the transformative power of music.
The Legacy of Innovation: Exploring the Evolution of Piano Technology
The conference concluded with a series of presentations that explored the technological advancements that have shaped the world of music, specifically focusing on the evolution of the piano.
Joyce Tang presented her groundbreaking research on Duo Art piano rolls, a revolutionary technology that allowed home audiences to experience the brilliance of legendary pianists like Myra Hess. Her work explores the fascinating challenges of performing live alongside a “player-piano ghost”, a unique experience that she aims to bring to life through an upcoming concert series.
Didzis Kalniņš, a pianist with a deep appreciation for the history of piano technology, delved into the captivating journey of the sostenuto pedal. From its invention in 1875 to its use by musical giants like Liszt, Busoni, Messiaen, and Ligeti, the sostenuto pedal has played a crucial role in shaping the sound of the piano. Through a captivating performance of Lūcija Garūta’s music, Kalniņš showcased the versatility of the pedal, demonstrating how it can be used to evoke a range of sounds and textures, even mimicking the Latvian Kokle.
A Symphony of Ideas: A Celebration of Musical Exploration
Day two of the music conference was a testament to the unwavering passion of musicians, composers, and researchers. Through a diverse array of perspectives, they challenged us to reimagine the possibilities of sound and silence in music, highlighting the power of tradition, innovation, and the human experience to shape our understanding of this universal art form.
