gabran

Tutte le opere in questo sito sono pubblicate sotto una Licenza Creative Commons .
from: Dylan Thomas
Y ya la muerte no tendrá dominio by MCVulcano & gabran
He deseado apartarme by MCVulcano & gabran
No entres con calma en esa buena noche by MCVulcano and gabran
from: Vicent Andrés Estellés
La pols del camí by by MCVulcano & gabran
Gabriele Ranica (gabran) a partire dagli anni Settanta, ha suonato in gruppi di musica jazz ed improvvisazione contemporanea.
L’incontro col Maestro Angelo Paccagnini l’ha riportato alla riflessione sul suono indirizzandolo verso l’estetica della ricerca musicale.
Ha pubblicato per Raccolto Edizioni:
“Angelo Paccagnini: Lo scontento cosmico”.
for more informations:
http://www.raccolto.org/
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by Not From This World
Other Words
When I put together some sounds, what I do is obey to my personal critical and aesthetic sense. A critical and aesthetic sense that takes account of my own listening experience and research.
But composing is not just "put together", put something together with something else.
Composing means to be inside the sound, let wrap by the sound, sink in the infinity of its possibilities and collect the most significant of those.
Experience is, after all, always something collective and shared.
The "aesthetic sense" is directly derived from that "critical sense".
Without experience and knowledge of the critical sense and aesthetic judgement, it arises not have depth, they are not suitable for a artistic purpose.
Having some experience of sounds also means possess those technical qualities that inform judgement on a particular work. The ability to judgement is acquired from the exploration (research) and listening.
Search is plunge to new adventures, listen to immerse themselves in research means others more or less historical.
Listening also means knowing listen themself, ask the face of their works as public. Ultimately every composer or artist in general, composes for himself.
Composes and proposes.
In the game of composing is already inherent to the proposal.
In the composition the composer propose and prepare him self to be public.
From this point of view, the work reveals its first communication mode: it communicate feelings to the composer who accepts and delivery it to a another interpretation: that of a possible public.
Abstract