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- جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
Available in Europe, 15th May 2018 Tradition and Synthesis is a
ground-breaking work which focuses on the creative act of synthesis or
fusion in composition, improvisation, and performance: jazz
guitarist/composer Bruce Arnold explains his approach to improvising
classical masterpieces (Monteverdi, Messiaen, and Webern, among others);
composer-performer Dusan Bogdanovic musically deconstructs the
pioneering work of the composer Maurice Ohana; theorist-composer Xavier
Bouvier, who has just returned from a six-month sabbatical in China,
describes his approach to negotiating intercultural exchange and
dialogue; an independent scholar/author and lecturer, Ellen Dissanayake
illuminates the human biological predisposition to being musical;
Catalan composer-guitarist Feliu Gasull, shares his insights and
experiences regarding fusing flamenco in contemporary idiom in an
interview; the Iranian composer-guitarist Golfam Khayam focuses on
compositional synthesis based on traditional Persian idiom; an
interdisciplinary artist and “avatar of experimental music”, David
Rosenboom, exposes his ideas of the artscience school of thought;
composer/author and educator Michael Tenzer talks about fusing
traditional Balinese gamelan with South Indian and Western music.
Preface Philippe Dinkel A commonplace of Western artistic thinking is
that the idea of modernity is specific to this part of the world, and
epitomized in Baudelaire’s famous dictum: Modernity is the transient,
the fleeting, the contingent; it is one half of art, the other being the
eternal and the immovable. Moreover, the very idea of progress –
whatever it may mean in the artistic field – has long been supposed to
be genuinely Western. Recent research has made this conception obsolete
and reveals that modernity may happen at any time in any society keen to
renew and question its own tradition, in addition to be ready and
curious to draw examples from other times and/or places. This process
can be expected to speed up with globalization, leading to fresh
reflections on universal artistic values as well as techniques and
finally, to understanding multiple modernities not as a grey and
abstract meta-synthesis of contemporary crafts and skills, but as the
lively, possibly contradictory dialogue of composition and
interpretation practices. This “multiple book” of essays on multiple
modernities is one outcome of an ambitious research project lead at the
Haute école de musique de Genève with the support of the University of
Applied Sciences and Arts of Western Switzerland, the other one being an
extensive colloquium and festival gathering of many
composers/performers from all around the world keen to share their
music. This project is a perfect example of true artistic research,
where reflection cannot be disconnected from actual practice but
thoroughly experienced in a concrete musical manner. Needless to say,
the Haute école de musique is itself a place of many different musical
traditions, not only Western but global, not only dealing with art music
but also with popular and non-written music, embedded in an
international community and network. Multiple modernities therefore
informs its curricula and thus prepares its students for a variety of
professional activities, both regional and abroad. It is my pleasure to
address my gratitude to all the authors of this book, especially to
Dusan Bogdanovic and Xavier Bouvier who carefully supervised its
preparation, and to our publisher Doberman-Yppan. I am convinced that
they have authored a conceptual milestone in the process of
cross-cultural dialogue, which is so important when traditional politics
and diplomacy show, alas, an almost daily lack and failure. Philippe
Dinkel Director Haute école de musique de Genève
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