Phenomenology and Generativism, Systemic Attitudes in Contemporary Composing “Soupir d’un Son I” by Fred Popovici

Abstract

The perspective induced into the strategy of composing by what Husserl understands by phenomenological intuition is validated on one hand by the bottleneck of restrained possibilities of expression, proven by structuralism as a form of organisation in art, and on the other, because it has been noticed that „although related (more or less clearly and adequately) to essences, many linguistic expressions require a careful examination of their context (verbal, psychological, and situational) for their proper interpretation, for various reasons. Some expressions are vague or equivocal, some are modified from their usual form or sense, and others are shortened” [1]. The composer Fred Popovici reveals a description of the phenomenology of the production of sound through his work Soupir d’un son I (1983). Setting the focus on the alteration of a sound’s voice, beyond instaurating any space of analogies, the attempt to discover this voice by going through the production modalities of sound as a resulting continuity constitutes the starting point of this study.