How does musical creation engage with real-world elements so as to affect the listening experience in an integrated or situated way? What are these elements and how do they interact with the perception of sounds, not merely as a metaphor, but effectively in a concrete experiential way, integrating experience in a larger field of meaning and consequence?
Since my PhD on the relations between music and architectural practice and thought, I have been developing works that, while traversing other areas of disciplinary intersections, in different ways engage with input from specific real-world situations. By developing different strategies of association, binding sounds to what is normally considered outside the discipline, these works have helped me explore methodologies of musical composition that expand the semantic reach of the works, allowing for a more comprehensive listening.
Questioning the limits of music as a discipline, and the role of its institutions today, this research explores musical practice as a device of inquiry and transformation, one that rejects stable and autonomous objects, or any programme of “reduced listening”, impermeable to context. Looking at what is becoming more and more a situated practice, and confronting it with other more permeable practices, I try to understand the different transferabilities that occur in some works, what kind of processes can be identified that establish meaningful connections to lived-world experience, hence contributing to developing the act of listening as engagement, as a more active partaking in a common construction of meaning.
Discussing ideas such as “relational music”, “non-fictional music”, “context-based composition”, “artistic device” or “extradisciplinarity”, I will give and overall view of my recent practice, to understand how they operate different modes of permeability with the lived-world, highlighting their implication, and hopefully enhance their resonance in the world.