| Abstract [eng] |
"Studio-based composition" is used not as a definition denoting stylistic directive that directs clear aesthetic references to the art of music or sound, but as a set of composition tools and principles, encompassing various technological and aesthetic paradigms of recent decades. The ability to maintain contact with a specific environment (interactivity), the ability to create specific tools (dematerialized instrument), and the specific ability to listen and hear (listening strategy ) are the three fundamental foundations of studio-based composing strategy. The relationship with the musical work and the reactions to it have a clear reciprocal connection: the work affects the composer as a listener, but at the same time is affected in the opposite direction. What meanings are coded in these reflections - the answers to this question correlate with the psychological aspects of the topic of studio-based composition. Since music, in general, is an art form that uses sounds as a medium to convey meanings, it is worth examining this phenomenon as a whole of signs and their systems. The processes of semiological communication through the poietic connection of the composer and esthesic connection of the environment with the musical work allow substantiating the theory of the integral three-part concept of studio-based composition. By implanting the concepts of interactivity, dematerialized instrument, and listening strategy into a semiological scheme of message coding and reconstruction, we obtain a new interpretive model of the studio-based composition principles. |
