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Ubiquitous Music, Gelassenheit and the Metaphysics of Presence: Hijacking the Live Score Piece Ntrallazzu 4

Abstract : Originally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pífano and electric guitar in São João del Rei during the VIII UbiMus workshop. Aliel's particular setup also involved a further layer of processing: namely, the usage of Pure Data alongside Ableton Live in order to literally hijack the original piece and open a whole set of unforeseen possibilities that abundantly transcend the original intentions. In this paper, we signify our experience by means of the concept of comprovisation, while we situate Ntrallazzu 4 within the domain of ubiquitous music. Furthermore, we make use of the Heideggerian concept of Gelassenheit and of the Derridean concept of Metaphysics of Presence (as reformulated by Joseph Pugliese) in order to make sense of the piece.
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https://hal-hprints.archives-ouvertes.fr/hprints-02321040
Contributor : Marcello Messina <>
Submitted on : Sunday, October 20, 2019 - 12:58:02 PM
Last modification on : Wednesday, November 13, 2019 - 1:51:58 PM
Long-term archiving on: : Tuesday, January 21, 2020 - 1:44:37 PM

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  • HAL Id : hprints-02321040, version 1

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Marcello Messina, Luzilei Aliel. Ubiquitous Music, Gelassenheit and the Metaphysics of Presence: Hijacking the Live Score Piece Ntrallazzu 4. CMMR 2019, Oct 2019, Marseille, France. pp.685-695. ⟨hprints-02321040⟩

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