Laborinth II: denken als experiment: 472 'meditaties' over de noodzaak van het creatief denken en experimenteren in het uitvoeren van complexe muziek van 1962 tot heden
The ideas in this thesis pay tribute to the French post-structuralist philosophers Jean François Lyotard, Jacques Derrida and Gilles Deleuze & Félix Guattari. In the terms of Deleuze they are rhizomatic structures of ideas that speak about the foundation on which the interpretation of a complex, ‘unheard’ and pioneering piece of music comes into being.
- Frans de Ruiter
They display the root and branch structures of thinking that happens and acts in the middle of the act of making music, of what is called experimental and complex contemporary music. They are ways of thinking which are not so much out to observe the music at a distance, from a certain height or from a certain angle, but want to grasp it from within the middle. Research inside the art, the idea of music from inside out, as a creative exposé of research into an art of thinking: shaping, conceiving and making creative concepts from which the interpretation comes to life.
The thesis wishes to examine the pathways of thought underlying the creative act of music making and the performance practice of complex music from the late twentieth and early twenty-first century. The questions at stake in the case of a ‘new’ complexity score, that is to say what is the significance of the extreme complex notation, are the score and the music playable and do they work, and how and under what condition do they work, these are the issues to be resolved by the performer.