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JOGLO NEW-SCENE Modular Circular℗1985 




THE NORTH ↗ TRIBES Oriental ☯ Society

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MODERNE (“1873”)
INFORMAL


Alternate dot “i”




@Seni-Rupa Hari ini Contemporer Legacy


Utara / Alt.ss02 / Regular

By combining compositions rather than melodies, one obtains a modular project. The term “project” is more appropriate than “composition” because the shape of the work is not fixed and it will change when a new composition (module) is added or removed. The concept of a musical work seen as something closed, limited and immobile evolves into a process of numerous aggregations that allow a composition to become infinite in principle. A modular project is a work in progress. Once a composition is completed, anyone can join in and take part to it, by adding new modules or even by removing modules that are considered unsuitable. The original module attracts new artists and stimulate them to create new works or compositions to be combined with the pre-existing modules. Each module, in turn, may become an original piece, a new starting point for other artists to join in and start a new process of aggregation. There are no limits; each composer or artist is free to manage his or her material, add or remove modules in any way or form, without changing the original works created by another modular composers. The only rule of the modular method is that none is allowed to modify a module: composers can choose a combination of modules, can add his/her own works but cannot absolutely modify a pre-existing module.

In music history, however, there are examples of famous composers using the modular method unaware: Charles Gounod (1818–1893) composed his famous Ave Maria by adding a melody to the I Prelude in C major from Das Wohltemperierte Klavier by J. S. Bach (1685–1750). Neither one of the two composers willingly adopted the modular method of composition for their respective works; however, these are examples of modular music.


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