Abstract
AbstractWe tackle the philosophical implications of post-2020 music practices. To situate our discussion, we address pending issues in current definitions of music-making. Our analysis indicates that post-2020 definitions of music should feature sonic information and events, framed through social interactions and through the material grounding of the musical activity. Ubiquitous music (ubimus) furnishes a promising playing field for the emerging aspects of creative music-thinking. New frameworks that encompass the dynamic, multimodal and situated characteristics of music while skewing an anthropocentric perspective on creativity may provide meaningful targets for ubimus research toward a new notion of musicality. Three artistic projects serve to exemplify key aspects of this proposal: Atravessamentos, Memory Tree and Lyapunov Time. We address the philosophical implications of these artistic endeavors toward the construction of ubimus philosophical frameworks.
Highlights
The philosophy and praxis of music-making can be split into two categories: pre- and post-2020
An important aspect of musical activity is its relationship with the environmental resources
Rather than dealing with organized sonic information, ubimus theoretical and conceptual frameworks handle sonic information adapted to material, biological, cognitive and environmental constraints
Summary
The philosophy and praxis of music-making can be split into two categories: pre- and post-2020. The concepts and the applications explored in current music practices highlight the need for renewed music-philosophical frameworks that are not limited by domain-specific boundaries Concepts such as the note, the rhythm, the instrument, the orchestra, together with the adoption of a strict separation between the professional musicians and the audience through the use of specialized venues have enforced a restrictive notion of what it means to make music. Part of the post-2020 scenarios have been considered from both practical and conceptual perspectives within the emerging field of ubiquitous music (ubimus).[9] A body of ubimus research produced during the last 14 years may suggest ways to adapt infrastructure and procedures to a pandemic-ridden world These new scenarios have philosophical, aesthetic and ethical consequences that have not been addressed by the mainstream twentieth-century music theories.
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