This exposition presents diverse materials related to or inspired by Luigi Nono’s piece for piano and tape …..sofferte onde serene… (1975–77). Organised in seven modules, it offers different perspectives on a vast collection of materials around the original work, its performative renderings, and its orchestral transformation. Without imposing any sequential logic of reading or listening, the seven modules are numbered following a scale ranging from a more scholarly approach (module 1) to a more creative perspective (module 7).
In this sense, this exposition proposes a new approach to artistic research in music – an approach that does not oppose ‘scientific research’ (or traditional academic skills) to ‘artistic work’ (or creative processes). In place of a dualistic opposition, I consider ‘research’ and ‘artistry’ as two parameters, two control knobs that can have different settings in different moments of the research procedure. In this reference frame, there is no research without creative moments, and there is no artistry without research situations. Sometimes the research ‘knob’ is turned very high while the artistic ‘knob’ is low, or vice versa; at other times they are equally high. But they are always in relation to each other, defining an elaborated scale, which can be precisely calibrated and explored by the artist-researcher.
This claim also goes against traditional disciplinary compartmentations, proposing a trans- and multidisciplinary modus operandi. In a traditional disciplinary framework the author of this exposition would be seen as operating in diverse, continually changing roles: as a musicologist, as a pianist, as a composer, and as a pedagogue. These four roles would correspond to four individuals working with different tools and perspectives. As an alternative to this vision, I propose the artist-researcher, a dividual entity with manifold interests, tools, methodologies, and scopes.
Inspired by Michel Foucault’s concepts of archaeology, genealogy, and problematisation, the methodology presented here consists of (1) an archaeological study (sketches, editions, and tapes), (2) a genealogical research (transtextuality, connectors), and (3) problematisation (construction of new assemblages). These research approaches are present, in different degrees, in all