Florestano Edizioni, 2016


Contemporary music, these days, finds itself in a complex situation that is difficult to grasp in its entirety. The contemporary musical world seems like a Tower of Babel, wherein numerous discordant voices echo, speaking radically different languages. Some voices, stemming from innovative and revolutionary ideas, speak new languages. Others hark back to the old days, taking up stylistic features and hallmarks (often in an original manner) from the past. Some voices are inspired by the musical culture of their place of origin, through which recollection and memory are inseparably tied. Some other voices are searching for new instrumental practices and ideas in distant areas of the globe. The evolution of instruments has prompted both composers and musicians to re-imagine the expressive possibilities of the instruments themselves, leading, immediately, to extraordinary results that, in some cases, have given a completely new image to instrumental music. 


Table of contents


Notation crisis – Notational changes – A new relationship with the musical instrument – New possibilities for expression – Handling the bow and points of contact – Sul ponticello – Sulla tastiera – Col legno – Rewritings – Gesture and formula – Gesture as movement – Music as a multimodal experience – Gesture as sound forms of a linguistic message – “Extended violin techniques” – Overpressure – Sub ponticello – Beyond the string – Pitch range – Change in pressure of the fingers on the fingerboard – The Use of Harmonic Sounds – Percussive techniques – New uses of pizzicato – Use of vibrato – Vibrato speed – Vibrato width – Scordatura tuning – Glissando varieties – For a new type of education – Reflections on electroacoustic music