Oria:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch Partitur Buch |
| Sprache: | English |
| Veröffentlicht: |
Paris
BabelScores
2003
|
| Schlagworte: | |
| Online-Zugang: | BSB01 Volltext |
| Beschreibung: | Oria, the greek word for "threshold" or "limits", is freely used to indicate the "in-between" of the instrumental and vocal preformance represented by a double score: two parts of equal importance are assigned to each performer. "Between" these two worlds a space of continuity is opening: a continuity in the tension, the tension in the musical text and in the gesture of the performer. The composition is articulated around two categories of natural sound, instrumental and vocal, both born from the breath, both produced by the gesture, one articulated out of, the other inside the body. A sonic space-body in motion, with multiple circuits, where one can move along, jumping maybe, from one sound category to the other, schematically outlined as: breath -> instrumental sound -> instrumental and vocal sound simultaneously -> vocal sound -> breath. Between these different states of the sound material one can create transitions, interruptions or sudden apparitions depending on form demands.Among the multiple vocal sounds, I have chosen for Oria a short part: with unvoiced phonemes (consonants), noisy and without pitch, and voiced phonemes (consonants and vowels) with precise pitch or ambitus.The temporal organisation of Oria is articulated by means of a sequence of durations, always the same, determining the internal structure of the eight sections. In each section the sequence appears expanded or compressed in time, the relationships of durations remaining identical. As an organising element, the sequence appears under different forms: temporal blocks, rhythmic phrases, textures (superposed sequences in different speeds) or markers of changes at particular points of the score (redisposition, renewal or transformation of the material) |
| Beschreibung: | 1 Online-Ressource (1 Partitur (40 Seiten)) |
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| 500 | |a Oria, the greek word for "threshold" or "limits", is freely used to indicate the "in-between" of the instrumental and vocal preformance represented by a double score: two parts of equal importance are assigned to each performer. "Between" these two worlds a space of continuity is opening: a continuity in the tension, the tension in the musical text and in the gesture of the performer. The composition is articulated around two categories of natural sound, instrumental and vocal, both born from the breath, both produced by the gesture, one articulated out of, the other inside the body. A sonic space-body in motion, with multiple circuits, where one can move along, jumping maybe, from one sound category to the other, schematically outlined as: breath -> instrumental sound -> instrumental and vocal sound simultaneously -> vocal sound -> breath. Between these different states of the sound material one can create transitions, interruptions or sudden apparitions depending on form demands.Among the multiple vocal sounds, I have chosen for Oria a short part: with unvoiced phonemes (consonants), noisy and without pitch, and voiced phonemes (consonants and vowels) with precise pitch or ambitus.The temporal organisation of Oria is articulated by means of a sequence of durations, always the same, determining the internal structure of the eight sections. In each section the sequence appears expanded or compressed in time, the relationships of durations remaining identical. As an organising element, the sequence appears under different forms: temporal blocks, rhythmic phrases, textures (superposed sequences in different speeds) or markers of changes at particular points of the score (redisposition, renewal or transformation of the material) | ||
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Datensatz im Suchindex
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| author | Spiropoulos, Georgia 1974- |
| author_facet | Spiropoulos, Georgia 1974- |
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| author_sort | Spiropoulos, Georgia 1974- |
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| format | Electronic Musical Score Book |
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| id | DE-604.BV048423468 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T20:27:53Z |
| indexdate | 2024-07-10T09:37:47Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033801750 |
| oclc_num | 1344240862 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 1 Online-Ressource (1 Partitur (40 Seiten)) |
| psigel | ZDB-1-BCM |
| publishDate | 2003 |
| publishDateSearch | 2003 |
| publishDateSort | 2003 |
| publisher | BabelScores |
| record_format | marc |
| spelling | Spiropoulos, Georgia 1974- cmp Oria Georgia Spiropoulos Paris BabelScores 2003 1 Online-Ressource (1 Partitur (40 Seiten)) ntm rdacontent c rdamedia cr rdacarrier Oria, the greek word for "threshold" or "limits", is freely used to indicate the "in-between" of the instrumental and vocal preformance represented by a double score: two parts of equal importance are assigned to each performer. "Between" these two worlds a space of continuity is opening: a continuity in the tension, the tension in the musical text and in the gesture of the performer. The composition is articulated around two categories of natural sound, instrumental and vocal, both born from the breath, both produced by the gesture, one articulated out of, the other inside the body. A sonic space-body in motion, with multiple circuits, where one can move along, jumping maybe, from one sound category to the other, schematically outlined as: breath -> instrumental sound -> instrumental and vocal sound simultaneously -> vocal sound -> breath. Between these different states of the sound material one can create transitions, interruptions or sudden apparitions depending on form demands.Among the multiple vocal sounds, I have chosen for Oria a short part: with unvoiced phonemes (consonants), noisy and without pitch, and voiced phonemes (consonants and vowels) with precise pitch or ambitus.The temporal organisation of Oria is articulated by means of a sequence of durations, always the same, determining the internal structure of the eight sections. In each section the sequence appears expanded or compressed in time, the relationships of durations remaining identical. As an organising element, the sequence appears under different forms: temporal blocks, rhythmic phrases, textures (superposed sequences in different speeds) or markers of changes at particular points of the score (redisposition, renewal or transformation of the material) Chamber Ensemble (5 - 9 instruments) https://www.babelscores.com/?option=com_virtuemart&Itemid=692&view=productdetails&virtuemart_product_id=731&virtuemart_category_id=6 Verlag URL des Erstveröffentlichers Volltext flute 1 clarinet 1 cello 1 double bass 1 piano 1 percussion 1 |
| spellingShingle | Spiropoulos, Georgia 1974- Oria |
| title | Oria |
| title_auth | Oria |
| title_exact_search | Oria |
| title_exact_search_txtP | Oria |
| title_full | Oria Georgia Spiropoulos |
| title_fullStr | Oria Georgia Spiropoulos |
| title_full_unstemmed | Oria Georgia Spiropoulos |
| title_short | Oria |
| title_sort | oria |
| url | https://www.babelscores.com/?option=com_virtuemart&Itemid=692&view=productdetails&virtuemart_product_id=731&virtuemart_category_id=6 |
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