Dos pasos a la colaboración: El Interaccionismo Simbólico entre la composición musical y coreográfica. (Spanish)

Two steps to collaboration: Symbolic Interactionism between musical and choreographic composition. (English)

Composing music for dance results in five types of relationships between these two art forms: (1) the music serves as a background for the dance providing rhythm and emotion but not interacting with it beyond this function of support; (2) a choreography is composed to a pre-existing music following its discourse; (3) music is composed to a finished choreography; (4) music and dance are composed as independent units only sharing the temporal meeting points at the beginning and the end; and (5) music and dance interact as an inseparable unit. In this study, I focus on the specificities of this last type of collaboration. To this end, I have conducted a case study whose object of analysis was a collaborative project where chorographer Angela Blumberg commissioned me the music for two of her choreographies. The findings of this study reveal that in this type of collaboration, the interdependence between composer and choreographer posits the former as a co-director in that composer and choreographer question the purpose of the piece, its aesthetics, its relevance for its audience and dancers, and its artistic value. Also, in this type of collaboration, the relationship between the art forms occurs as in a balanced conversation where each one alternately takes the lead. Furthermore, modifications in the music are needed during the creative process, which requires a quick and affordable method of music production. [ABSTRACT FROM AUTHOR]

La composición de música para danza establece cinco tipos de relaciones entre ambos lenguajes: (1) la música funciona como un fondo que provee un ritmo o una emocionalidad, pero no interactua con la danza más allá de esta función de apoyo; (2) la coreografía se compone en función a una música preexistente siguiendo sus inflexiones discursivas; (3) la música se compone al servicio de una coreografía ya realizada siguiendo sus pautas expresivas; (4) la música y la danza suceden en planos independientes cuyos únicos puntos en común son la temporalidad del inicio y del final; y (5) la música interactúa con la danza en un entramado indisoluble. Esta última relación constituye el foco de este estudio cuyo propósito es analizar sus especificidades. Para esta investigación, llevé a cabo un estudio de caso cuyo objeto de análisis fue una colaboración en la que la coreógrafa Ángela Blumberg me encargó la composición de música para dos obras coreográficas. Analizando esta colaboración elaboro tres conclusiones: (1) la interdependencia generada en el tejido compositivo entre música y danza posiciona al compositor como codirector del producto final, dado que ambos creadores se cuestionan la estética de la obra, su relevancia para el público y los bailarines, y su valor artístico; (2) el rol de liderazgo se alterna entre ambos creadores como en una conversación equilibrada; y (3) el compositor requiere un modo de producción musical que permita rápidos cambios. [ABSTRACT FROM AUTHOR]

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