What minimal cognitive dispositions and formal implications might take part in any transferring from a scientific model to a musical one during composers' creative pratices?
What methodological and analytical stands should musicologists take in order to efficiently address the study of musical works originating from those pratices?
This book is aimed at providing some clues as to both questions. Its first part combines arguments from logics and cognitive linguistics, leading to the definition of a "compositional metamodel". It also provides a possible framework for analyzing science-inspired compositions. The second part of the book delimits Alberto Posadas's creative pratices, focusing on his fractal metamodels -based on fractional Brownian motions, the Mandelbrot set, Lindenmayer systems and histologic fractals- for composing Liturgia Fractal (2003-2007).
OUVRAGE PUBLIÉ AVEC LE CONCOURS DE L'IRCAM - CENTRE POMPIDOU