Simplexity
What seems at first simple is in fact complex when one takes a further look, and vice versa when one looks at the complex. The critic that this line of thought has manly fought against has been that here the new-complexity is put into another context, or rather, it is given a new name. Where the new-complexity is interested in the strenuous effort of both the composer and performer to accomplish the musical task, simplexity is on the other hand more interested in illusion. As is said above the complex is simple, and the simple complex, thus simplexity.
When simplexity is used (if one can talk of it as a tool) on a piece, it (the piece or work of art) is made into a subject in context with the sociopolitical environment it is made from. How then can one say that this is not a political tool? By not going into direct contact with current debates, but rather dwelling on the more abstract ideas of modern society. The work of art becomes a part of the collective consciousness of the people who are put into contact with it, be it performers, creators or the audience. Simplexity is also seen as an attempt to make F. Saussure´s concepts of langue and parole a part of the musico-methodology in which the contemporary musicians find themselves.
This means that the work of art or piece is dependent on the context it is put into, be it different performers, another venue (spatial conceptualization)or other aspects of the realization of the work. One can say that music in this particular sense has become as much alive as language.
It moves and changes depending on the subjects it comes into contact with, who in their treatment of the musical information which the work comprises of, again puts it into the role of the subject to be desired.
What seems at first simple is in fact complex when one takes a further look, and vice versa when one looks at the complex. The critic that this line of thought has manly fought against has been that here the new-complexity is put into another context, or rather, it is given a new name. Where the new-complexity is interested in the strenuous effort of both the composer and performer to accomplish the musical task, simplexity is on the other hand more interested in illusion. As is said above the complex is simple, and the simple complex, thus simplexity.
When simplexity is used (if one can talk of it as a tool) on a piece, it (the piece or work of art) is made into a subject in context with the sociopolitical environment it is made from. How then can one say that this is not a political tool? By not going into direct contact with current debates, but rather dwelling on the more abstract ideas of modern society. The work of art becomes a part of the collective consciousness of the people who are put into contact with it, be it performers, creators or the audience. Simplexity is also seen as an attempt to make F. Saussure´s concepts of langue and parole a part of the musico-methodology in which the contemporary musicians find themselves.
This means that the work of art or piece is dependent on the context it is put into, be it different performers, another venue (spatial conceptualization)or other aspects of the realization of the work. One can say that music in this particular sense has become as much alive as language.
It moves and changes depending on the subjects it comes into contact with, who in their treatment of the musical information which the work comprises of, again puts it into the role of the subject to be desired.