About Music from Somewhere
DOI:
https://doi.org/10.24310/umatica.2025.v8i8.22535Keywords:
Hybridity, performativity, Music from somewhere, intermediaAbstract
Music from Somewhere (Fran MM Cabeza de Vaca, 2017–2019) is a work for pianist’s hands, light, and electronics that explores silence, memory, and gesture as sonic materials. The absence of the physical piano turns the performer’s body into a mediator between sound, light, and space, shifting the focus from sound emission to the pre-gesture—that perceptual state preceding visible movement. In this sense, the performer’s body functions as a transducer in the Simondonian sense: an agent that modulates energies and produces transformation. The piece thus unfolds as an intermedia and hybrid practice. Its hybridity does not stem merely from technological use, but from the cognitive, aesthetic, and bodily fusion of heterogeneous media (light, memory, gesture, sound). From an intermedial perspective—after Higgins and Citton—the work invites inhabiting a space between media, a state of in-mediate experience that blurs the boundaries between body, technique, and memory. In doing so, it displaces pianistic tradition toward a performative territory where perception, touch, and remembrance converge in a shared experience between performer and audience, rendering visible the bodily, temporal, and sensorial dimensions of absent music.
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References
CITTON, Yves, « Immedialità intra-attiva e intermedialità estetica », Rivista di estetica, n° 63, 2016, p. 99-120, parag. 2.
CRAENEN, Paul. (2014). Composing under the skin. The Music-making Body at the Composer’s Desk. Leuven University Press.
Disponible en : http://journals.openedition.org/estetica/1289
HIGGINS, Dick, « Statement on Intermedia », op. cit., np
SERRES, Michel. (1985). Les cinq sens, París, Hachette.
SIMONDON, Gilbert. (1995). L’individu et sa genèse physico-biologique. Éditions Jérome Millon.
SIMONDON, Gilbert. (2007). El modo de existencia de los objetos técnicos. Prometeo Libros.
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