Roberta Carrieri and Dario Buccino | Busking in Milan (Live 2006) скачать в хорошем качестве

Roberta Carrieri and Dario Buccino | Busking in Milan (Live 2006)

ROBERTA CARRIERI, DARIO BUCCINO: voices, guitars Live in Piazzale Cadorna, Milan | 23 June 2006 ________________________________________ Busking is an ancient artistic espression and job. It embodies the essence of pure performing: no stage, no lights, no announced event, only one person or two and people passing by and stopping just if the busker deserves it. In this video we busk with the song form, which is even more ancient then busking itself. The song has existed as long as human beings, as long as music. There are lullabies, work songs, love songs... I define the song as an affective object. All music is an affective object, that is, all music is a concentration of affective energies. We love music and we feel loved by music. And the song is namely a 'portable' affective object. As a composer I am consecrated, in fact, to musical forms that are very different from the song form. I consider myself a performative composer because I compositionally organise not only sound but also the necessary performative process to bring it into effect. The performative process is what takes place in the body and in the mind when we play music. The idea of the existence of a corporeal, embodied thinking is supported by ancient practices and theories (yoga, eastern martial arts, the christian doctrine of the logos being made flesh) and enquired by modern philosophy, cognitive psychology and neuroscience. In the early 1990's I developed the HN System®, a musical system conceived to engage the performer’s entire body and mind in the creation of sound, harnessing the forces that come into play in the moment of the performance, in its here and now, embodied by the acronym "HN". Even the most extreme conceptions and the most experimental praxis, however, are part of my research into the affective resonance of sound. For this reason, I have on many occasions over the years engaged with the song form. In past centuries, there was nothing unusual in drawing on traditional oral music, and the importance assumed by the Lied (which in German means “song”, “chant”, “melody”, “ballad”) in the output of even intellectually extreme composers demonstrates interpenetration between popular culture and high culture. The song is, in reality, a territory whose boundaries are too well-defined to easily accommodate the HN System's exploration, but it offers fertile starting points, because it is in the nature of the song, at least in its traditional forms, to be born and to be disseminated orally, that is, performatively. © 2014 Dario Buccino