Reflections

Field of Practice

Let me briefly return to the discussion of modernism versus postmodernism. While I cannot definitively situate my music within the framework of postmodernism, I believe it both incorporates and rejects aspects of modernity and postmodernity alike. Additionally, I have yet to encounter terminology that satisfactorily captures contemporary artistic practices that extend beyond postmodernism, *A lucid critique of postmodernism and a proposed thereafter around the idea of post-contemporary can be found in Christopher K. Brooks, Beyond Postmodernism : Onto the Postcontemporary (Newcastle, UK: Cambridge Scholars Publishing, 2013). . However, an interpretation of this critique into contemporary musical practices as those I have referred as WACM or CAC exceeds me. especially in the music field.

I would like to rescue the term “Late Modernity” or “Second Modernity”, proposed by C. S. Mahnkopf and other authors.*Tatiana V. Tsaregradskaya, "‘Late Modernism’ in the Music of the Late 20th and Early 21st Century: Some Observations," Journal of Moscow Conservatory 10, no. 3 (2019), https://doi.org/https://doi.org/10.26176/mosconsv.2019.38.3.001; Claus-Steffen Mahnkopf, "Second Modernity—An Attempted Assessment," Facets of the second modernity 6 (2008). It is used to define a type of compositional practice that has been learned from classical modernity, avant-garde, and also from postmodernity. It questions the postmodern conviction that creating new, innovative musical content is no longer possible, or that all materials, regardless of context, are equally valid for use. In this sense, it advocates for cohesive and coherent styles, utilizing elements that are recent developments. It doesn’t just oppose postmodernism; it also aligns positively with the principles of classical modernism in the necessity for technical construction in music.

The most important characteristic of Late Modernism, according to Mahnkopf, is the striving to create multi-perspectival or non-reductionistic works. In this sense, Mahnkopf argues that the three dimensions of differentiation examined by Lehmann *Lehmann, H. in Claus-Steffen Mahnkopf, Critical composition today, 1st ed. (Hofheim: Wolke Verlag Hofheim, 2006) –work, medium, and reflection– no longer form a unity, and it is expected that each dimension can gain partial dominance depending on emphasis, intention, tradition, and taste. This is essential to me, as I believe a complete appreciation of my works is closely tied to understanding their foundational concept or genesis –though not necessarily the constructive process.

Potentially, the ideas of Late Modernism are somewhat close to mine, as I believe there needs to be a conciliation between what Mahnkopf describes as the forces of innovation and experimentation and the conviction that construction, and some technical validation of the musical discourse, is indispensable. In addition, some pieces by composers labeled as late-modernists are on my list of favorites and have largely influenced me.

Mahnkopf wrote in 2011 that Late Modernity is still in the process of becoming. *Claus-Steffen Mahnkopf, "From classical modernity up to the second modernity: Provisional considerations," The Second Century of New Music 595, no. 1998 (2011). Considering the pace at which current society is moving in terms of technological advancements, geopolitical conflicts, and destruction of the environment, discussing the affinity of my work to an aesthetical category that was coined around the first decade of the 2000s might seem outdated or uninformed. However, and this comes from my direct personal observation –some might well disagree on it– the ideas of Late Modernity are still well-suited to encompass the large part of the practices hosted by the mainstream European and Western contemporary music festivals. *See for example the program concerts and list of mentors for the Festival/Academy for Contemporary Music Impulse 2023, which I took part of. https://www.impuls.cc/archive-since-2022/festival-2023.

Here are a few examples of late modern works and composers that have influenced me:

Post-contemporary?

Is it possible that by 2024, Late Modernity has already been surpassed by something else? I cannot say for sure, but most likely, yes. Observing recent practices of composers aged 30 to 50, it seems plausible that we are witnessing the emergence of some form of post-late-modernism: a movement where late-modernist musical ideas have evolved into something distinct. As a speculative exercise, I propose a list of currently very active composers and works that have profoundly impacted me by suggesting something genuinely new, perhaps ideas or sounds I had never previously imagined. Sometimes, these works are connected with recent technological developments, though not always. This, ultimately, represents the musical space I aspire for my work to inhabit (I recognize this is more a reflection of my aspirations than an objective reality).

Very short list of example pieces that I would fit in my idea of post-contemporary:

Computer-Assisted Composition

M. Puckette proposes that, currently, there are two approaches to musical creation using computers: One concerned with the synthesis and manipulation of musical sounds and the other concerned with symbolic representations of music. The two branches have been named “Computer Generated Music” (CGM) and “Computer Aided/Assisted Composition” (CAC). *The term computer-assisted composition sometimes is referred as computer-aided composition by some authors. CAC centers on the creation of music using symbolic forms like standard notation. Within CAC, the tradition of representing music symbolically is predominantly envisioned for acoustic instruments associated with the classical or contemporary instrumental tradition, which are expected to execute the composed piece.*Puckette, M. in Jean Bresson, Carlos Agón, and Gérard Assayag, The OM Composer's Book (Ircam, Centre Pompidou, 2016). Some historically relevant composers in the new paradigm of CAC are Kaija Saariaho, Clarence Barlow, Magnus Lindberg, Jean-Claude Risset, and Ivan Fedele. *For an in-depth historical review of the origin and historical development of CAC, see Haas, "The language of the assistant and the language of the creator: selected aspects of computer assisted composition." ; Karlheinz Essl, "Algorithmic composition," in Cambridge Companion to Electronic Music, ed. Nick Collins and Julio d'Escrivan (Cambridge University Press, 2007).

In the current era, this workflow is facilitated by CAC programs, mainly featuring object-oriented visual programming environments. These systems foster an environment where the boundaries between conventional music representation and programming language blur. As a result, in the realm of modern CAC, differentiating between “programming” and “composing” as distinct, sequential tasks is no longer feasible: they have become entwined in the creative process. In this context, the concept for a piece often emerges through an interactive process with the machine, allowing for real-time verification and adjustment of the musical trajectories. Throughout the composition process, it’s possible to view intermediate or alternate outcomes in various formats, from traditional music notation to audible playback.

Currently, there is a very active and dynamic global scene of contemporary composers engaging with CGM and CAC –practices that are often quite intertwined. In recent years, I have actively engaged with members of two collectives of practitioners that I believe are highly relevant and active and potentially the most significant in the field related to my project. These are the groups PRISMA and ARIGA.

PRISMA

In 2001, the composer Jacopo Baboni-Schilingi *Jacopo Baboni-Schilingi defined his compositional praxis around the year 2003-2007 as hypersystemic music: an approach that involves an array of compositional systems mediated by CAC. These systems are governed by a unifying theory that accounts for their poetic, practical, and artistic aspects. See Baboni Schilingi, La Nuova Pratica: La musique hyper-systémique. established a music research collective called PRISMA at the Tempo Reale Centre in Florence, focusing on the pedagogy and international research of computer-assisted musical systems. The group’s goal is to produce music that is grounded in complex formal methodologies while remaining emotionally resonant, embodying the ideal of creating music that is both intellectually conceived and emotionally felt. The project PRISMA encompasses five key areas: research, diffusion, production, promotion, and education. *Retrieved from http://johanneskretz.bplaced.net/www-jk-neu/prisma.html February 19, 2024.

Composers from PRISMA:

Jacopo Baboni Schilingi, Johannes Kretz, Guilherme Carvalho, Mikael Laurson, Jean-Francois Charles, Thierry Coudys, Frederic Voisin, Julien Vincenot, Paolo Aralla, Nicola Evangelisti, Giacomo Platini, Michele Tadini, Torsten Anders, Kilian Sprotte, Hans Tutschku, Carlos Caires, and Örjan Sandred.

Recommended works (very short list):

ARIGA

During 2021-2022, I formed part of the Special Interest Group on Artistic Research in Generative Art (ARIGA).*Retrieved from https://www.researchcatalogue.net/view/1221024/1221025 ARIGA addresses artistic research that focuses on the computational, the algorithmic, and the generative. Computation is understood as an actor integrated into a mesh of irreducible interrelations, part of an ecology in which technological, historical, social, and scientific aspects diffract. ARIGA critically addresses fundamental questions common to diverse practices and seeks to gather artist-researchers working with generative processes in heterogeneous media, including space, sound, image, video, sculpture, and language.

Members of ARIGA:

Luc Dobreinner, David Pirro, Gerard Eckel, Caspar Schipper, Monica Monin, Bjarni Gunnarson, Renato Marcelo, Ludvig Elblaus, among others.

Relevant organizations and conferences for CAC include:

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