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By Héctor Angulo, Carlos Fariñas, Harold Gramatges, Edgardo Martín, Leo Brouwer y José Ardevol

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It is a quite dramatic change of understanding of what happens in the artistic presence, since it eliminates the mystification of spontaneity and imprevisibility in creative performance. These attributes have had a great influence on the non-understanding of creative performance, from classical music to free jazz. 12 The Performer’s Balanced Dancing Presence 39 Spontaneity and imprevisibility are just negations of any sort of positively defined artistic shaping; they are the “emergent properties” of creativity mysticism, creativity by negation.

A. L. Crelle (1780-1855) Fig. 6. G. W. F. Hegel (1770-1831) T¨ urk makes scientific remarks and explicitly addresses his book not only to students, but also to researchers. Crelle’s book has a first clear semiotic structure. Performance is viewed as an exact expression of a work’s content, as a whole and in parts. Here appears for the first time the idea of an individual and “autonomous” work character, which requires a specific treatment in order to achieve adequate expression of contents. This idea is germinating from Beethoven’s creativity as being in opposition to general schemes, and as such requiring a thorough understanding and corresponding expression.

Fig. 15. Carl Seashore (left), his Iowa Piano Camera (middle), and the agogics curve (right) showing that agogics is not a random process. Seashore’s results on agogics were groundbreaking. 15: measured black block lengths from velocity of passing light J through window F on film D) in chords. These measurements proved agogical consistency of different renditions. After Seashore’s death in 1949, empirical performance research paused until the Swedish research team of Erling Bløndal Bengtsson and Alf Gabrielsson started their SYVAR project in 1974 (completed by the studies of L.

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6 Autores cubanos. 10 obras para guitarra by Héctor Angulo, Carlos Fariñas, Harold Gramatges, Edgardo Martín, Leo Brouwer y José Ardevol


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