Defense of the artistic research project “Projection of the Creativity Phenomenon in Musical Composition”

On December 12–13, 2018, the defense of Sigitas Mickis’ artistic doctorate project “Projection of the Creativity Phenomenon in Musical Composition” will take place at the Lithuanian Academy of Music and Theatre. Artistic supervisor of the project – Prof. Vaclovas Augustinas, research supervisor – Prof. Dr. (hp) Gražina Daunoravičienė. Copies of the research paper and its summary are available at the library of the Lithuanian Academy of Music and Theatre (Gedimino pr. 42).

Free entrance.

Defense of the creative part of the artistic doctorate project
December 12, 2018, 6 p.m.

MUSIC INNOVATION STUDIES CENTRE (Gedimino pr. 42, Vilnius)

CONCERT PROGRAM
Sigitas Mickis (1969)

Orchestral music Apocalypsis for symphonic orchestra (“When the lightning tears…”) (2018) – 23’
Chamber music Apocalypsis: The crowd (2017) – 6’
Sonic theatre Pilis (2016) – 17’
Choir music Žmogus tamsoje (2016) – 6’
Chamber music Nušvitimas… (2015) – 13’

Defense of the artistic research paper
December 13, 2018, 10 a.m.

JUOZAS KAROSAS HALL (Gedimino pr. 42, Vilnius)

CHAIR OF THE DEFENSE BOARD OF ARTISTIC RESEARCH PROJECT – Prof. Mindaugas Urbaitis (Lithuanian Academy of Music and Theatre, Music, Composition);
BOARD MEMBERS: Prof. Donatas Katkus (LMTA, Music, Performance), Prof. Rytis Mažulis (LMTA, Music, Composition), Prof. Dr. Mārtiņš Boiko (Jāzeps Vītols Latvian Academy of Music), Prof. Dr. Antanas Kučinskas (LMTA, Humanities, Art Research, Musicology);
REVIEWERS: Prof. Dr. Ričardas Kabelis (LMTA, Music, Composition), Assoc. Prof. Dr. Mārtiņš Viļums (LMTA, Humanities, Art Research, Musicology).

Abstract

Artistic research project Projection of the Creativity Phenomenon in Musical Composition conducted by Sigitas Mickis reveals the acoustic structure of compositional gestures of rhythm. The sonic gestures shaped by the composer are investigated based on the most recent cognitive research of music in the 20th-21st centuries, which allows predicting the experience of rhythm compositional gestures when auditioning the music during the compositional process or while listening to performance of already written works. The criteria distinguished by the author assist in identification of creative changes in musical expression – the auditory events modelled in compositional process. The first criterion relies on novelty; for rhythm it is generated through combinatory formation of contour, while for form it is achieved via syntax innovations. The second criterion reveals the quality of acoustic interaction between the auditory expectations and constructive compositional grammars. The third criterion marks the contextuality of the projection of the first two criteria in three-dimensional auditory imagery. The research aims to formulate a consistent theory of multidimensional creativity contexts and compositional actions therein, complementing the practice of musical research and proposing an original method of gesture analysis of creativity. One of the secondary objectives achieved by the research is the formulation of terminology for cognitive creativity analysis.