Composition-Interpretation-Improvisation Processes in XO pt. II by Dino Rešidbegović: Comparative Analysis of two Interpretations

Authors

DOI:

https://doi.org/10.51191/issn.2637-1898.2018.1.1.56

Keywords:

composition processes, graphic score, improvisation, electroacoustic ensemble, interpretation analysis, flute with processors, amplified cello, amplified piano, analog sound synthesizers

Abstract

The composition XO pt. II for flute with processors, amplified cello, amplified piano and analog sound synthesizers, by Dino Rešidbegović, was published in 2016 as an electroacoustic adaptation of its previous version, XO for undetermined instrumentation. The phenomenon of the notation of both versions, presented through the graphic score, comes from the very idea of/about the composition. The score is divided into nine squares which form a network with incorporated abstract shapes of different colors. In the middle of the score is a chart of a spectral analysis of the composition The Impact of the Analog Synthesizer for ensemble, also by Rešidbegović. The only difference between the scores of the two versions is the instrumental parameters table involved in XO pt. II for three performers. The main task of this paper is primarily the analysis and comparison of two interpretations of XO pt. II by the same three performers, with a difference in duration of almost 19 minutes. The goal is to reconstruct and explicate the improvisation as a potential basis for a compositional-technical analysis. A composition-interpretation-improvisation processes chain represents the main structure of the general process which forms the composition XO pt.II, involving composer and performers – interpreted as equal, interdependent creators of the musical work.

Author Biography

  • Hanan Hadžajlić, Music Academy of the University of Sarajevo, Sarajevo, Bosnia and Herzegovina

    Hanan Hadžajlić (1991) is a transdisciplinary researcher who combines knowledge from the field of music composition, instrumental interpretation – flute, transhumanism studies and artificial musical intelligence development. Currently she is completing her DMA in flute performance at the Faculty of Music Arts in Belgrade (mentor: prof. Ljubiša Jovanović, co-mentor: Dr. Vesna Mikić) as well as PhD in transdisciplinary studies of contemporary art and media at the Faculty of Media and Communication in Belgrade (mentor: Dr. Andrija Filipović, co-mentor: Dr. Miodrag Šuvaković). She completed MA in composition (mentor: prof. Ališer Sijarić, co-mentor: Dr. Amila Ramović) and MA in flute performance (mentor: prof. Sakib Lačević, co-mentor: Dr. Ivan Čavlović) at the Music Academy of the University of Sarajevo. Since 2018 she has been employed as a Teaching Assistant at the Department of Composition at the Music Academy of the University of Sarajevo.

    She is a co-founder and director of the Institute for Contemporary Artistic Music

    (INSAM Sarajevo, 2015).

Cover of the INSAM Journal No. 1. Design by Milan Šuput

Downloads

Published

15.12.2018

Issue

No. 1 (2018): Process in Art, Technology and Theory

Section

Articles

License

Copyright (c) 2018 INSAM Journal of Contemporary Music, Art and Technology

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

You are free to:

  1. Share — copy and redistribute the material in any medium or format
  2. The licensor cannot revoke these freedoms as long as you follow the license terms.

Under the following terms:

  1. Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
  2. NonCommercial — You may not use the material for commercial purposes .
  3. NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
  4. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.

How to Cite

Composition-Interpretation-Improvisation Processes in XO pt. II by Dino Rešidbegović: Comparative Analysis of two Interpretations. (2018). INSAM Journal of Contemporary Music, Art and Technology, 1, 56-71. https://doi.org/10.51191/issn.2637-1898.2018.1.1.56
Crossref
Scopus
Google Scholar
Europe PMC