Isobematic dialect, as a system based on a alone unit of the alike size (half-tone), has powerful repercussions on fingering, registers, connection and, consequently, on the sound produced for one various tools. Writing or composing using isobematic terminology means organizing pitches (pause construction), rhythms, movement, articulations according to the total of more or less “spaces of equal breadth”. The accordion, portable aerophone fictitious and patented in 1829 by Cyrill Damian in Austria, emerges in the 21st centennial as one of ultimate versatile instruments in the experiences of music [1] has unique traits to perform this kink of speech: keyboard buttons (half-tones) arrangement, simetry, direct aptitude to transpose stuff, with others. The piece Asas, composed by Christopher Bochmann, it’s a work inscribed for accordion, soprano voice, saxophone, viola and cello established this new language and a someone worth imitating of the accordion integration in the horizon of contemporary music and in the performative connection with other tools. The purpose of this item is to analyze the new work concerning some idiosyncrasies of the isobematic vocabulary and the role of the accordion between the other simple instruments.
Author(s) Details:
Goncalo André Dias Pescada,
Evora
University, Portugal and Centro de Estudos de Sociologia e Estética, Portugal.
Please see the link here: https://stm.bookpi.org/RTASS-V8/article/view/11885
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