Ça a été

"Ça a été" is a piece I composed for electronics based on a book by Roland Barthes "Le Chambre Claire".

This work is structured in 6 independent moments, 3 static and 3 dynamic, each one with different character and color.

https://youtu.be/mxO4w6pAIOw

https://soundcloud.com/viniciusbandeira/vinicius-bandeira-ca-a-ete

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  • Hi Vinicius,

    As a tonal traditional composer who works with notation software and writes for acoustic instruments, I don't have a frame of reference to understand your piece. Can you provide a bit of an explanation as to what you are doing with this piece and why you chose the sounds you did? Is there a structure to it which you could describe that might help me to understand it better? Do you have any notation on this?

    Thanks,

    Gav

  • Well, firstly, congratulations on putting a work of this length together.

    I listened to a few minutes. An interesting piece.  It threw my memory back to Pierre Henry and Schaeffer of Concrète fame. It’s also a genre in which I’ve experimented with some time back. But there’s a problem. How do you ‘develop’ a piece of this length? It needs to be more than a variety of sounds strung together. (I also find it difficult with prolonged atonal pieces for acoustic instruments). Perhaps we should forget development and treat it like a film score – incidental music to some sensory (usually visual) progression, like Merce Cunningham commissioned John Cage to compose his “dance scores” using similar techniques. This puts the issue of development elsewhere or as a totality.

    The episode introducing piano-like sounds at 1’54” went on annoyingly too long – until 3’48, much longer and I’d have felt under some kind of Ipcress pressure. I switched off at the more sustained part starting around 5’00”

    As I say, backing a visual (which in itself doesn’t have to tell a story) could have made it more cohesive but by itself it’s not something I could listen to to the end, or repeat.

    Apologies I can’t be more positive. Such music does appeal to some, however, and hope they’ll turn up to give it greater acclaim.

    bests, Dane

     

  • I'm with Dane on this one. The random sounds in the beginning are intriguing, but then the piano changes the character and that stays too long. After that you have a straight-up pad sound that is completely incongruous, and then it devolves into some 1950s electronic experiment.

    In other words, I'm not sure where you're going with this, and I'm not getting a sense of unified conception from it.

  • Hi Vinicius,

    You now have three replies on your post. That means that 3 people paid you the courtesy of listening to your music and offering commentary on it. Kindly consider replying to those who gave you their valuable time, even if you disagree with the comments offered (a simple "thanks" would be better than nothing). 

    Gav

  • This piece is supposed to have a non-linear form, each moment is independent and self-contained. The name "Ca à été" comes from a book by Roland Barthes "Camera Lucida: Reflection on Photography", and means "this has been". To Barthes the photography carries something that the other forms of art doesn't have, that the referent really existed. In literature we should use all sorts of arguments to say that something really happened, and in paintingn or drawing, there is no garantee that the referent was there. However this coudn't happen because you can't fake (at least at the time) what was in front of the lens. Based on this the moments were created using the harmonic content of some pieces I like, the Harmonic Entities used was from Berio's "Sinfonia" and "Sequenza XI", and Flo Menezes' "PAN". The melodies, chords, whatever, was based on this entities. I used this to make a reference and evoke the memory this pieces without making a literal quotation.

    In this one, the only part that is writen is the piano from the last moment.

    Gav Brown said:

    Hi Vinicius,

    As a tonal traditional composer who works with notation software and writes for acoustic instruments, I don't have a frame of reference to understand your piece. Can you provide a bit of an explanation as to what you are doing with this piece and why you chose the sounds you did? Is there a structure to it which you could describe that might help me to understand it better? Do you have any notation on this?

    Thanks,

    Gav

    Ça a été
    Ça a été is a piece I composed for electronics based on a book by Roland Barthes Le Chambre Claire . This work is structured in 6 independent momen…
  • I can't reply a lot because I only have internet access when I am at the University. I don't have internet at home.

  • Thanks Vinicius

  • To my ears this sounds like electronic sounds which I found to have more percussive structure in the beginning.  The only time I pick up on a musical like structure is around the 9:02 mark. The rest of it seems like some kind of long introduction using various electronic sounds.

  • My impression is similar to Timothy's.... I perceived hints of structure throughout but they only seemed to coalesce starting around the 9 minute mark, or shortly before that. I will disclaim though, that I do not listen to much purely electronic music and it is very possible that I just don't grasp the idiom.

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