Keywords
Transcultural Musicology
Intermusability
Artistic Research
How to Cite
Accepted 2024-11-26
Published 2024-12-20
Abstract
This article presents the methodological development of the analytical-performative model adopted in the artistic research of pianist and researcher G. Caruso on the 72 Etudes Karnatiques for piano by Jacques Charpentier (1933-2017). This method was extended to other repertoires, like the Danzas Argentinas by Alberto Ginastera (1916-1983), in the artistic project "Re-Orient" thanks to the collaboration with percussionist and researcher F. Magarò. In this research, the creative aspects of interpretation and performance are combined with a precise historical-stylistic analysis of the score. The performative analysis was enriched by Magarò’s application of Solkattu (a system of vocalization and theoretical organization of the Carnatic tradition) as a lens for extrapolating and interpreting the internal structure (rhythmic or scale) of each study. During a collaborative performance practice, the two researchers identified the Indian music rhythmic and melodic patterns used and elaborated by Charpentier in his piano score. The semantics of the Arab-carnatic model was then applied to also extrapolate the typical formulas of the Agentinian local dances present in the score of Ginastera (Malambo and Chacarera). This collaborative artistic practice led to a co-creative process in which the notation served as a bridge between "cultured" and "popular" music (i.e., "extraculta" European). The result has not only culminated in the realization of a co-creative artistic project, but also in a coherent analytical-performative model transferable to other repertoires. The analytical-performative model was efficient in highlighting the rhythmic and melodic elements of two different musical traditions, the Carnatic and the Argentine, and supported the hypothesis of extracultural musical elements as a metalinguistic discourse. The result of this embodied practice validates the thesis of bi-musicality (or rather, Intermusability). This means that the acquisition of competencies and performative skills by scholars and musicians can be taken from the artistic practice of different musical systems.
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