Self-analysis by Gerardo Gandini in his Writings

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The relation between concert music and language becomes particularly visible in the titles of the works which, even though they ascribe to the ancient taxonomy of genres, establish an irreducible foundation of meaning. The works’ commentary extends that inscription of literacy. However, when the wri...

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Autor principal: Fessel, Pablo
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2017
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7492
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El oído pensante de Universidad de Buenos Aires
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spelling I28-R250-article-74922020-11-10T00:18:56Z Self-analysis by Gerardo Gandini in his Writings La propia interpretación en los escritos de Gerardo Gandini Autoanálise nos escritos de Gerardo Gandini Fessel, Pablo The relation between concert music and language becomes particularly visible in the titles of the works which, even though they ascribe to the ancient taxonomy of genres, establish an irreducible foundation of meaning. The works’ commentary extends that inscription of literacy. However, when the writings make a more technical reference to compositional procedures, a restitution is produced, in which language turns to music under the regime of a seeming referential transparency. Scattered in concerts programs, disc booklets, articles or public presentations,interviews in newspapers, and even in the scores themselves, the references of Gerardo Gandini to his own music form a fragmentary corpus in which some constants can be read: exposition of texts' sources or of borrowed materials, procedures or formal devices employed, circumstances of the composition. The article presents a description of this textual corpus along with a consideration of the discursive modalities of the composer’s self-analysis. La relación de la música de concierto con la palabra se hace particularmente visible en los títulos de las obras que, aun cuando adscriben a la antigua taxonomía de géneros, establecen un núcleo irreductible de sentido. Los comentarios de obra extienden esa inscripción de lo literario. Cuando los escritos hacen en cambio una referencia más técnica a los procedimientos compositivosse opera una restitución, en la que la palabra se vuelve hacia la música bajo el régimen de una aparente transparencia referencial. Dispersas en programas de conciertos, folletos de discos,artículos o presentaciones públicas, entrevistas en la prensa periódica, e incluso en las mismas partituras, las referencias de Gerardo Gandini a su propia música forman un corpus fragmentarioen el que pueden leerse algunas constantes: la declaración de las fuentes de los textos o materiales reelaborados, los procedimientos o dispositivos formales empleados, las circunstancias de lacomposición. El artículo expone una descripción de ese corpus textual junto con una consideración sobre los modos de la propia interpretación por parte del compositor. A relação entre música de concerto e linguagem é particularmente visível nos títulos de obras que, ainda quando associados à antiga taxonomia de gêneros, estabelecem um núcleo irredutívelde sentido. Comentários sobre obras ampliam esta inscrição do literário. Entretanto, quando os escritos fazem uma referência mais técnica aos procedimentos compositivos é produzida uma restituição na qual a palavra se volta para a música sob o regime de uma aparente transparência referencial. Dispersas em programas de concertos, folhetos de discos, artigos, apresentações públicas, entrevistas na imprensa periódica, e até mesmo nas próprias partituras, as referências de Gerardo Gandini à sua própria música formam um corpus fragmentário no qual se revelam algumas constantes: exposição de fontes textuais ou de materiais reformulados, procedimentos ou dispositivos formais utilizados, circunstâncias da composição. Este artigo apresenta uma descrição deste corpus textual combinado a considerações sobre modalidades discursivas das autoanálises do compositor. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2017-01-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7492 El oído pensante; Vol. 5 Núm. 2 (2017): Agosto 2017 - Enero 2018 El oído pensante; Vol 5 No 2 (2017): Agosto 2017 - Enero 2018 El oído pensante; v. 5 n. 2 (2017): Agosto 2017 - Enero 2018 2250-7116 spa http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7492/6704
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-250
container_title_str El oído pensante
language Español
format Artículo revista
author Fessel, Pablo
spellingShingle Fessel, Pablo
Self-analysis by Gerardo Gandini in his Writings
author_facet Fessel, Pablo
author_sort Fessel, Pablo
title Self-analysis by Gerardo Gandini in his Writings
title_short Self-analysis by Gerardo Gandini in his Writings
title_full Self-analysis by Gerardo Gandini in his Writings
title_fullStr Self-analysis by Gerardo Gandini in his Writings
title_full_unstemmed Self-analysis by Gerardo Gandini in his Writings
title_sort self-analysis by gerardo gandini in his writings
description The relation between concert music and language becomes particularly visible in the titles of the works which, even though they ascribe to the ancient taxonomy of genres, establish an irreducible foundation of meaning. The works’ commentary extends that inscription of literacy. However, when the writings make a more technical reference to compositional procedures, a restitution is produced, in which language turns to music under the regime of a seeming referential transparency. Scattered in concerts programs, disc booklets, articles or public presentations,interviews in newspapers, and even in the scores themselves, the references of Gerardo Gandini to his own music form a fragmentary corpus in which some constants can be read: exposition of texts' sources or of borrowed materials, procedures or formal devices employed, circumstances of the composition. The article presents a description of this textual corpus along with a consideration of the discursive modalities of the composer’s self-analysis.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2017
url http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7492
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first_indexed 2023-06-27T21:04:15Z
last_indexed 2023-06-27T21:04:15Z
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