Vinko Globokar: Composer and Improviser (Contemporary Music Science and Cultures)

The Boundaries of Musical Improvisation: Exploring the Possibilities

Where do the boundaries of musical improvisation lie? What are the creative spaces? What relationships between musicians determine this "free interplay"? How indeterminate can a composition be during performance and yet still be composed? For the past 45 years, Vinko Globokar has been developing compositional strategies with an indeterminate element. These compositions incorporate interpretative freedoms into a composed work.

Sabine Beck brings Vinko Globokar's versatility to the forefront. The relationship between improvisation and composition is explored, with all its nuances of indeterminacy. It is the academic endeavor to understand a fleeting field and its determinants, and it places Globokar in the context of his contemporaries and companions (Stockhausen, Berio, Kagel). The book provides a comprehensive view of his musical oeuvre, including analytical categorization along six dimensions and three main fields: "The Musician as Explorer and Inventor," "Music and Language," and "Music and Action."

The study delves into the intricacies of Globokar's compositions, examining how the indeterminate elements are woven into the fabric of the work. It explores the interpretative freedoms granted to the performers, and how these freedoms shape the final musical outcome. The author also examines the relationships between the musicians, and how these interpersonal dynamics influence the "free interplay" that characterizes Globokar's compositions.

One of the key questions addressed is the extent to which a composition can be indeterminate during performance and still be considered a composed work. Globokar's compositions push the boundaries of this distinction, blurring the lines between improvisation and composition. The study delves into the analytical frameworks used to categorize and understand these works, shedding light on the creative and intellectual processes behind their creation.

Throughout the book, Globokar's work is placed in the context of his contemporaries, such as Stockhausen, Berio, and Kagel. This contextual analysis allows the reader to understand Globokar's contributions within the broader landscape of experimental and avant-garde music. The author explores the ways in which Globokar's compositions both align with and diverge from the approaches of his peers, highlighting his unique voice and artistic vision.

In summary, this comprehensive study of Vinko Globokar's compositional strategies provides a valuable exploration of the boundaries of musical improvisation and the interplay between composition and interpretation. It offers a nuanced and insightful perspective on the creative processes and conceptual underpinnings that have shaped Globokar's influential body of work.

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