Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza
In the history of the Rome-based Gruppo di Improvvisazione Nuova Consonanza (GINC) – one of the first European collectives of free improvisation in so-called New Music – the years 1968-1972 can be considered the zenith of the group’s success in terms of recognition, visibility, and increased output....
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| Publicado no: | URI:https://journals.openedition.org/transposition, |
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| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicado em: |
Transposition
2022
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| Assuntos: | |
| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:transposition_7003 |
|---|---|
| record_format |
openedition |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
Gruppo di Improvvisazione Nuova Consonanza (GINC) The Feed-Back Actor-Network Theory collective improvisation experimental music |
| spellingShingle |
Gruppo di Improvvisazione Nuova Consonanza (GINC) The Feed-Back Actor-Network Theory collective improvisation experimental music Farina, Maurizio Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| description |
In the history of the Rome-based Gruppo di Improvvisazione Nuova Consonanza (GINC) – one of the first European collectives of free improvisation in so-called New Music – the years 1968-1972 can be considered the zenith of the group’s success in terms of recognition, visibility, and increased output. Two contemporary events, however, appear as uncharacteristic flops: a concert in Berlin during the 6 Tage Musik Festival in December 1969, and the LP The Feed-Back produced by RCA Italiana between March and October 1970. In the first case, a concert, specifically formatted as a “rehearsal-session” to broaden the participation of the audience by dialogic means, turned out to be a challenging experience due to the confrontational behaviour of a part of the audience. In the second case, the production of an LP experimenting in a style that the group’s spokesperson called “upperground”, which included elements of beat music and was thought would also offer a potential economic gain, turned out to be a controversial and disappointing experience. Using documentary and archival materials, as well as oral and written accounts of former GINC members, viewed through the lens of Actor-Network Theory, in this article I explore the many complexities of the two flops. Namely: which entities/actor-networks are involved in them; how these entities/actor-networks interact, which kind of issues they raise, and which negotiation spaces they enact (inside and outside the musical performance space); how in the case of these two projects the premises and the results failed to be aligned, and the consequences for the overall project, i.e. GINC itself. In this article I present a framework which more readily allows for following individual projects (and their eventual flops) not only inside the performance space but also in their relation to the variations in configuration of the overall experimental project/group. |
| author |
Farina, Maurizio |
| author_facet |
Farina, Maurizio |
| author_sort |
Farina, Maurizio |
| title |
Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| title_short |
Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| title_full |
Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| title_fullStr |
Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| title_full_unstemmed |
Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza |
| title_sort |
improvisational flops: a problematic concert (1969) and controversial lp (1970) of the gruppo di improvvisazione nuova consonanza |
| publisher |
Transposition |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.7003 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/7003 |
| _version_ |
1877293137923145728 |
| spelling |
openedition-oai:revues.org:transposition_7003 https://doi.org/10.4000/transposition.7003 urn:doi:10.4000/transposition.7003 en https://journals.openedition.org/transposition/7003 2022-06-30T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmdn https://creativecommons.org/licenses/by-sa/4.0/ Improvisational flops: a problematic concert (1969) and controversial LP (1970) of the Gruppo di Improvvisazione Nuova Consonanza Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Farina, Maurizio Gruppo di Improvvisazione Nuova Consonanza (GINC) The Feed-Back Actor-Network Theory collective improvisation experimental music In the history of the Rome-based Gruppo di Improvvisazione Nuova Consonanza (GINC) – one of the first European collectives of free improvisation in so-called New Music – the years 1968-1972 can be considered the zenith of the group’s success in terms of recognition, visibility, and increased output. Two contemporary events, however, appear as uncharacteristic flops: a concert in Berlin during the 6 Tage Musik Festival in December 1969, and the LP The Feed-Back produced by RCA Italiana between March and October 1970. In the first case, a concert, specifically formatted as a “rehearsal-session” to broaden the participation of the audience by dialogic means, turned out to be a challenging experience due to the confrontational behaviour of a part of the audience. In the second case, the production of an LP experimenting in a style that the group’s spokesperson called “upperground”, which included elements of beat music and was thought would also offer a potential economic gain, turned out to be a controversial and disappointing experience. Using documentary and archival materials, as well as oral and written accounts of former GINC members, viewed through the lens of Actor-Network Theory, in this article I explore the many complexities of the two flops. Namely: which entities/actor-networks are involved in them; how these entities/actor-networks interact, which kind of issues they raise, and which negotiation spaces they enact (inside and outside the musical performance space); how in the case of these two projects the premises and the results failed to be aligned, and the consequences for the overall project, i.e. GINC itself. In this article I present a framework which more readily allows for following individual projects (and their eventual flops) not only inside the performance space but also in their relation to the variations in configuration of the overall experimental project/group. Les années 1968-1972 peuvent être considérées comme le zénith du succès du Gruppo di Improvvisazione Nuova Consonanza (GINC) – groupe basé à Rome qui représente l’un des premiers collectifs européens d’improvisation libre dans le domaine de la musique dite nouvelle – en termes de reconnaissance, de visibilité et de productivité. Deux événements contemporains, cependant, apparaissent comme des flops singuliers : un concert qui s’est tenu à Berlin pendant le 6 Tage Musik Festival en décembre 1969, et le LP The Feed-Back produit par RCA Italiana entre mars et octobre 1970. Dans le premier cas, un concert spécifiquement formaté comme une « session de répétition » pour élargir la participation du public par des moyens dialogiques, s’est avéré difficile en raison du comportement conflictuel d’une partie du public. Dans le second cas, la production d’un LP expérimentant un style que le porte-parole du groupe a appelé « Upperground », incluant des éléments de la musique beat et dont on pensait qu’il offrirait également un gain économique potentiel, s’est avérée être une expérience controversée et décevante. À l’aide de documents d’archives, de récits oraux et écrits d’anciens membres de GINC, et en s’appuyant sur la théorie de l’acteur-réseau, cet article explore les mécanismes complexes à l’œuvre dans ces deux flops. Quelles entités-réseaux d’acteurs y sont impliqués ? Comment interagissent-ils, quels types de questions soulèvent-ils, et quels espaces de négociation mettent-ils en place (à l’intérieur et à l’extérieur de la sphère de la performance musicale) ? Nous verrons comment, dans ces deux cas, les prémisses et les résultats n’ont pas été alignés, ainsi que les conséquences de ce décalage pour le projet global — c’est-à-dire GINC lui-même. Dans cet article, je présente un cadre qui permet plus facilement de suivre les projets individuels (et leurs éventuels échecs) non seulement à l’intérieur de l’espace de la performance mais aussi dans la manière dont la configuration du projet et du groupe expérimental global varie. |