Page 11 - V. Motta: 2020/21 Creative Portfolio

11
Vol, 0

In addition to the in-
fluences of Offermans and
Takemitsu, I was also influ-
enced by Kata from Shoto-
kan Karate. During a Kata,
the martial artist performs a
sequence of precise move-
ments, stabbing through
wind, whilst maintaining
freedom on how and when a
movement should be execut-
ed. One could see it as some D. Quintero - Kata Chatanyara Kushanku
form of choreography.
The influences of Kata
led me to give an important
emphasis on the presentation
and detailing of my work. I
present a very detailed score
alongside an instructions
page, in which the performer
should refer to in order to de-
liver an appropriate perfor-
mance. In the same way as
Kata, the performer has a lot K. Shimizu - Kata Chatanyara Kushanku
of freedom and control over
the tempo in a performance NOTE
of my piece. This flexibility on Both videos above present the performance
time provides a less obvious of the same Kata. Note that both martial artists exe-
sense of pulse whilst per- cute the same set of movements, however, in terms of
forming detailed instructions, when and how they are executed, they greatly con-
in a similar manner to Kata trast. In order to create a piece of music that differs
from Shotokan Karate. majorly depending on the performer, I have employed
the use of techniques such as the forceful breath
mixed with sound without tonguing and wind tones,
as those techniques will vary deepening on the per-
former. In addition, Bar 43 presents mainly elements
of graphical notation, thus each performance will be
slightly different. Furthermore, the use of commas as
breath markings is also employed; once more, rein-
forcing the idea of flexibility in time. Therefore, the
performance of this piece is very similar to a perfor-
I had written for solo mance of a Kata.
flute before; however, this was
the first time in which I have
explored extended techniques
for it, as well as blending some
elements of graphical notation
alongside Standard Western
Classical notation.