Since my early days as a musician, experimental music has been the focus of discussion and debate in the field I have frequented, both by pianists and composers in the most diverse academic settings. Although there are various ways of approaching issues of this type of music, as far as my choices of conceptual approach are concerned, I have been inclined to elucidate the relationship between the action of sound and the scenic phenomenon as a whole. Although the breadth of the experimental query leads to a multiplicity of aspects to be investigated, I have tried to concentrate on the root variables, taking as a point of inflection the works that expose in a seminal way the problem(s) that concern most of this type of music.
My writings and my work as a researcher in recent years have concentrated on the analysis of the word, more specifically its musicality and performative aspect, as a result of my work in vocal training at the Universidad del Salvador. The immersion of a musician in the field of Dramatic Art, to which I have belonged for ten years, means that both the approach and the perspective may vary substantially, nourish and complement each other. In this sense, I consider the theatre/music relationship to be substantial for the analysis of many of today’s scenic-musical manifestations, as well as extensive for the understanding of experimental music as a whole. In this field, I have worked on the work of composer Mauricio Kagel and the problematic of what I call `sonorous representative action´, especially with regard to instrumental theatre production.
The work of John Cage has been of particular attention in the course of my research, embracing analysis of works that border between the representational and the sonorous, as well as his experimentation in performative writing. John Cage’s production admits a multiplicity of approaches to its analysis, so I have taken the liberty granted for this purpose.
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