Iturra Jeremias. Cinematographic image and musical composition: Compositional technique toward creative convergence.
This PhD project by Jeremias Iturras aims to find a “creative technical convergence” between music and cinema. To elucidate this convergence, Iturras will first analyse certain film techniques (design, construction, structure, aesthetic ideas, etc.) based on specific examples from directors and films to see if it is possible and plausible to apply the “same” technical methods to a musical composition. He will look for the creation of “technical musical concepts” that will have as their origin a cinematographic idea. The initial research has revealed some technical models (specifically in relation to space and timbre) that were used in some of Iturras’ pieces. On a theoretical level, this process will be articulated by analysing two conceptual pillars: metaphor and analogy in music.
The second part of this project will enquire if these technical musical concepts originating from a cinematographic idea, can in turn be applied, at the technical level, to the construction of the image (video, cinema). For that, collaboration with other artists (video and filmmakers) will be essential, resulting in an audiovisual work. Therefore, at the formal level, this project aims in its trajectory to carry out a sort of spiral during which the first idea will undergo a metamorphosis to be “reinjected” at the starting point.
Composition and Music writing
The research group Composition and Music Writing is as diverse as its researchers: composers and creative musicians scrutinize their own musical language from within. Equally, they explore, in an artistic way, the musical language of their predecessors. Departing from their own artistic practice, they explore the elements that construct music, but of course do not do so in a vacuum. The research questions arise from their own practice, and touch on problems or challenges regarding performance practice. These can be very diverse: new technologies generate new possibilities and new musical forms, which can be examined and clarified or refined.
Collaborations of all kinds lead to new paths challenges for musical language, and new analytical models can generate new forms of significance and creation. What all of these researchers have in common is that they aim to enrich their technique within their own or another musical language and/or practice. On a microlevel, within their own sound world, or on a larger level, within dramaturgical structures or musical hybrid forms. Always Researching with great curiosity, but also with an artistic goal: the creation that enters into a dialogue with an audience.