This week, I had the pleasure of giving a video-seminar titled “Una propuesta de acercamiento a la música contemporánea”1 (A Proposal for Approaching Contemporary Music) at the Department of Music of the University of Guadalajara (Mexico), graciously invited by my dear friend Marco Giusto. It was an enriching experience, where I had the opportunity to engage with students eager to explore experimental music and all its broader implications. This seminar was part of the university’s Discussion Forums series.
Before the event, I provided students with a listening list. The selection included:
- Vassos Nicolau, 15 Klavieretüden
- Ivan Wyschnegradsky, fifth prelude from Twenty-four Preludes in Quarter-tones
- Hanna Kulenty, Going Up 2
- Luciano Berio, Sequenza X
- Stefano Gioffré, Fragments of a Lover’s Discourse
- Stefano Gioffré, La réponse est dans la pelote de laine
Additionally, I prepared an abstract summarizing the main topics of discussion:
Our past experience shapes the way we understand music; yet, when we listen to experimental music, we are asked (either explicitly or implicitly) to put that past experience aside, face the novelty with open ears, and give composers a level of trust that we would not normally give away so easily. Not all listeners are willing to do that, and so experimental music can rarely count on large audiences. But is this the only possible approach? Does experimenting always come with demands? I will try to dwell on this problem from different angles and present my quest for not being demanding while not giving up on experimenting.
The seminar began with an explanation of what a PhD in composition entails, particularly in the UK. This topic sparked curiosity among the students, who had numerous questions about the academic and professional opportunities that come with pursuing a PhD in composition.
Following this introduction, I presented my research on “composing without requests”, which has been the core of my PhD work. Despite my efforts to condense this part, it ended up occupying a significant portion of the presentation. The students’ enthusiasm and engagement, however, made it worthwhile. Their interest in new concepts was evident through their insightful questions and thoughtful participation.
A key element of the discussion was the theoretical framework supporting my research. I introduced some useful concepts from music semiology, particularly through the lens of J. Molino’s and J.J. Nattiez’s theories, which provided the students with a shared foundation for interpreting my theoretical developments.
I also explained the concept of “layered music” as a means to connect with different listening perspectives and bridge the gap that naturally arises between the poietic and aesthetic dimensions in Molino’s and Nattiez’s framework. This approach emphasizes a non-prescriptive method, where different layers emerge organically and engage a heterogeneous audience in parallel. The idea of “composing without requests” aligns closely with this framework, as it seeks to create music that invites infinite exploration rather than imposing expectations on the listener.
In the final part of the seminar, we discussed my two compositions Fragments of a Lover’s Discourse (2020) and La réponse est dans la pelote de laine (2022). This discussion allowed me to illustrate my ideas in practice and demonstrate how my theoretical research influences my compositional approach and vice versa. We also touched on another concept that I developed during my PhD, that of “negative energy”.
What I truly appreciated about this seminar was the students’ openness to new perspectives. Experimental music often requires a shift in listening habits, and it was rewarding to see them engage with new ideas so actively. Their curiosity and willingness to explore unfamiliar territory reaffirmed the importance of fostering a curious and open-minded approach to music.
I am grateful to Marco for the invitation and to the students of the University of Guadalajara for their enthusiasm. It was an inspiring exchange that reminded me of the power of dialogue in shaping our understanding of music and its possibilities.
For those who can read Spanish, here is the reaction post that the University shared on Facebook.
El día de hoy se llevó a cabo el 2do Foro de Discusión “Una Propuesta de Acercamiento a la Música Contemporánea” conducido por el Mtro. Stefano Gioffré, quien nos acompaño en modalidad virtual.
El Mtro. Stefano Gioffré nos compartió su proceso de investigación en el ámbito de la composición y las corrientes de estudio que ayudan a comprenderla, por ejemplo, la semiología; con base en la teoría de J. J. Nattiez. Así mismo, explicó su teoría de una música hecha por capas, “Layered music”, en la que a través de las dimensiones poiética, estética y el rastro en un trabajo artístico se hacen presentes funciones semánticas que quieren abarcar una variedad heterogénea de público. Esta técnica, impulsadas a través del sonido y una serie de conceptos, se proponen como una estrategia de creación musical no prescriptiva. En fin, el compositor nos habló más en detalle del análisis de la audiencia hasta la energía negativa expresada como el potencial de la obra musical.
(reseña compartida por Luis Pano, estudiante de la Lic. en Música con Orientación en Composición)
