Sonando en clave afectiva : pautas para encontrarme fagot

Abstract

The present work seeks to contribute to broaden the spectrum of understanding and possibility of the musical through an inquiry focused on sound, which attempts to weave new modes of relationship between a musical instrument -the bassoon- and the instrumentalist -the bassoonist- in order to activate sound ecologies with which it seeks to criticize and overcome in some way the constrictions established by the notation, the canon, and the forms of disciplining music and the musical. As a methodological principle for the mobilization of these new ways of relating, we work with scores as the central axis of the project. These guidelines help to feel and think critically about the process of disciplining that is lived within musical learning; about the musical notation that is imposed in school; and about the different paths that the bassoonist goes through in his musical practice in order to mobilize his relationship with the bassoon.

The reflection arising from the work with the scores makes it possible to establish the difference between rigid scores and scores. The quest to be a genius artist, the competition, and the elision of the body in musical education, are three rigid scores that prevent other forms of relationship between the body of the instrumentalist and the bassoon, and that in this work are counteracted by the critical and liberating space opened by the improvisation scoring. For this reason, within the research an open and experimental methodology is constructed by means of the improvisational scoring explored in bassoonaction scales, which attempt to delocalize the bassoonist and resituate them in instances of unstable action and enunciation that do not operate within a musical key, but rather with an affective key. This process that moves through the scores, broadens and flexibilizes the modes of relationship between bassoonist and bassoon, reconfiguring them into a body/bassoon, a new mode of relationship from which emerges the attention and activation of the affective key in sound ecologies that propitiate the bassooning with the bodies thrown into the improvisational score.