Pluralité de “spuntos” et formativité audiotactile : un regard sur l’improvisation musicale collective

Autori

  • Fabiano Araújo Costa Universidade Federal do Espirito Santo

DOI:

https://doi.org/10.13130/2039-9251/6661

Abstract

This paper looks at the interactional-improvisational aesthetic experience based on Luigi Pareyson’s notions of “formativity” and “spunto” as well as on the concepts and the taxonomy of Vincenzo Caporaletti’s audiotactile formativity theory. On the theoretical ground, we propose a deeper investigation of the key concepts in the audio tactil phenomenology, such as the “audiotactile principle” [ATP] and the “audiotactile conceptual schemes”. Original concepts for the study of musical interaction are also developed, noticeably the notion of the “interactional formative space” [IFS].

Riferimenti bibliografici

ARROYAVE, Carlos Emel Réndon, “Fichte-G. H. Mead: el orden de la intersubjetividad práctica”, in Estudos di Filosofia, xlvi, 2012, pp. 89-112.

BERLINER, Paul Franklin, Thinking in Jazz. The Infinite Art of Improvisation, University of Chicago Press, Chicago 1994.

BERTINETTO, Alessandro, “Improvvisazione e formatività”, Annuario filosofico, xxv, 2009, Mursia, 2010, pp. 145‐174.

–, “Performing the unexpected. Improvisation and Artistic Creativity”, Daímon. Revista Internacional de Filosofía, lvii, 2012, pp. 117-135.

–, “Performing imagination”, Klesis. Revue philosophique, xxviii, 2013, pp. 62-96.

CAPORALETTI, Vincenzo, La Definizione dello Swing. I fondamenti estetici del jazz e delle musiche audiotattili, Ideasuoni, Teramo 2000.

–, I processi improvvisativi nella musica. Un approccio globale, LIM, Lucca 2005.

–, Swing e Groove. Sui fondamenti estetici delle musiche audiotattili, LIM, Lucca 2014a.

–, “Il principio audiotattile come formatività”, in A. Sbordoni (a cura di), Improvvisazione Oggi, LIM, Lucca 2014b, pp. 29-42.

–, “Neo Auratic Encoding. Phenomenological Framework and Operational Patterns” in G. Borio (ed. by), Musical Listening in the Age of Technological Reproduction, Ashgate Publishing, Farnham 2015.

COSTA, Vincenzo, Fenomenologia dell’intersoggettività, Carocci, Roma 2010.

CROCE, Benedetto, “Une théorie de la ‘tache’ ”, in B. Croce, Essais d’esthétique, traduit par G. Tiberghien, Gallimard (Tel), Paris 1991, pp. 191-201.

ECO, Umberto, “L’Estetica della Formatività e il Concetto di Interpretazione” (1955-1958) in U. Eco, La Definizione dell’Arte, Mursia, Milano 1985, pp. 9-31.

GRIDLEY, Mark Charles, Jazz Styles. History and Analysis, (1978), 3rd ed, Prentice Hall, New Jersey, 1988.

KERNFELD, Barry, “Improvisation”, in B. Kernfeld, (ed. by) The New Groove Dictionary of Jazz, i, Macmillan Press, London & New York 1988, pp. 554-563.

MEAD, George Herbert, L’esprit, le soi et la societé (1934), éd. par D. Ceifaï, L. Quéré, traduit par D. Ceifaï, L. Quéré, PUF, Paris 2006.

MONSON, Ingrid, Saying Something. Jazz Improvisation and Interaction, The University of Chicago Press, Chicago 1996.

PAREYSON, Luigi, Estetica. Teoria della formatività (1954), Tascabili Bompiani, Milano 1991.

–, Teoria dell’Arte, Saggi di Estetica (1950), Marzorati, Milano 1965.

–, “Signification d’une théorie fameuse”, in L. Pareyson, Conversations sur l’esthétique, traduit par G. A. Tiberghien, Gallimard, Paris 1992, pp. 109-117.

–, “Fenomenologia dell’iniziativa” (1969), in L. Pareyson, Iniziativa e Libertà, Mursia, Milano 2005, pp. 221-262.

–, Esthétique. Théorie de la formativité (1954), traduit, notes et introduction par G. A. Tiberghien, Éd. Rue d’Ulm, Paris 2007.

SBORDONI, Alessandro, “Comporre interattivo. Una valida prospettiva”, in A. Sbordoni (a cura di), Improvvisazione Oggi, LIM, Lucca 2014, pp. 89-96.

SHORTER, Wayne, Interview in G. Lukoschek, The Language of the Unknown. A Film about the Wayne Shorter Quartet, Arthaus Musik, [DVD], 2014.

IMBERTY, Michel, “Langage, musique et cognition: quelques remarques sur l'évolution nécessaire des problématiques psychologiques des vingt dernières années”, in Circuit: musiques contemporaines, xiii/2, 2003, pp. 93-110.

IMBRIANI, Vittorio, La quinta Promotrice, Tipografia Napolitana, Napoli 1868 [on line]. Consulté le 25/08/2015. Disponible sur : https://play.google.com/store/books/details?id=GTL71L_zMgYC&rdid=book-GTL71L_zMgYC&rdot=1.

RINZLER, Paul, “Preliminary Thoughts on Analysing Musical Interaction Among Jazz Performers”, in Annual Review of Jazz Studies, iv, Scarecrow Press, Maryland 1988, pp. 153-160.

REINHOLDSSON, Peter, Making Music Together in Small Groups. An Interactionist Perspective on Small-Group Performance in Jazz, Dissertation in English, Acta Universitatis, Studia Musicologica Upsaliensia, Nova series 14, Upsalla 1998.

STRONG, Samuel, «A Note on George H. Mead’s The Philosophy of the Act», American Journal of Sociology, xlv/1, 1939, pp. 71-76.

TIBERGHIEN, Gilles, “Luigi Pareyson et sa Théorie de la Formativité”, Conférence ministrée à Citéphilo 2011 – L’art du faire, enregistré le 12/11/2011, Auditorium du Palais des Beaux Arts de Lille, France [on line]. Consulté le 25/08/2015. Disponible sur : http://old.citephilo.org/assets/recordings/Luigi_Pareyson-.mp3?1323682581.

Dowloads

Pubblicato

2015-12-29

Fascicolo

Sezione

Estetica, improvvisazione e formatività