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Submission Number: 190
Submission ID: 245
Submission UUID: d4b38a28-aa72-4efd-bbe2-f68c97197ba2
Submission URI: /ga/form/submit-contribution
Cruthaithe: Thu, 26 Feb 2026 - 17:40
Déanta: Sat, 28 Feb 2026 - 21:00
Changed: Wed, 13 May 2026 - 08:54
Remote IP address: 158.47.221.225
Submitted by: Anonymous
Teanga: English
Is draft: Níl
Current page: webform_confirmation
Flagged: Tá
| Given name | Jacopo |
|---|---|
| Surname | Petrucci |
| jacopo.petrucci@icloud.com | |
| I understand that by submitting this form, I consent to the use of my data for the purposes of the 2026 Forum on Artistic Research'. | Tá |
| I agree to the terms of service. | Tá |
| Title | Embodied music |
| Format | Performance |
| Main language | English |
| Abstract | The notion of gestural notation refers to those semiographic systems that encode physical action as a primary musical parameter, foregrounding the performer’s embodied engagement with the instrument. This approach responded to the growing exploration of extended techniques and experimental art practices that exceeded the descriptive capacity of traditional notation. Mario Bertoncini’s artistic research originates in the exploration of unconventional physical interactions with the piano, transforming the instrument into a resonant field of spatial actions. He expanded the concept of prepared piano as it was intended by John Cage: his preparations included nylon cords knotted between the lid and the strings, DC motors and many other self-made artifacts. In his works, gesture is not merely a means of sound production but becomes the primary carrier of a musical thought. The graphic layout of Bertoncini’s scores reveals how embodied experimentation is translated into visual form. In works like Cifre or Suite “colori” the concept of composition itself is questioned: composing, in a post-serial point of view, doesn’t imply anymore a process of structurization of pre-determined materials but, rather, it means shaping an innovative gesture. By examining the relationship between this experimental approach and Bertoncini’s usage of the magnetic tape as a type of fixed media, this paper wants to present my own ongoing research project as both a pianist and a composer on “piano-transduced feedback”. Moreover, this paper frames gestural notation as an example of an experimental artistic practice that foregrounds minoritized and potentially endangered forms of knowledge transmission. In an era of increasing digital uniformity, his work asserts the centrality of corporeality and material interaction. Gesture emerges as both a symbolic and practical device: a trace of research, a tool of resistance, and a medium through which musical knowledge is enacted, preserved, |
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| Short biographies of the presenter(s) |
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| Previous presentations or iterations of the research | |
| Additional information | Link RC: https://www.researchcatalogue.net/shared/d9dd52f7e2eb4e37c42a96d29f9ccd05 The ideal setting for this performance requires the presence of a grand piano, which will be suitably prepared through the application of a system of multiple acoustic transducers provided by the performer. The installation of the devices is entirely non-invasive and does not compromise the instrument’s structural or acoustic integrity. In the absence of a piano, the performance may be realised using any large resonant surface of comparable dimensions, preferably made of solid wood. The acoustic outcome of the transduced-feedback system is inherently responsive to the characteristics of the performance space. In the piano version, the performance alternates between sections for piano and live electronics and sections dedicated exclusively to transduced feedback, with a total duration of approximately 30 minutes. In the alternative versionthe duration is reduced to approximately 15 minutes. |
| Spatial and technical requirements | Spatial: Any kind of performance space wider than 2m x 2m Technical: All electronic equipment is easily transportable and provided by the performer |
| Potential risks or ethical concerns | The installation of the devices is entirely non-invasive and does not compromise the instrument’s (ar any surface) structural or acoustic integrity. The performance doesn't collide with any ethical concern. |
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