[A1104] The amount of work product (number and size of the compositions) was obviously low for those who had little or nothing about knowledge of compositional technique, the most abundant in those who had already performed a task or semi-professional music. At work quantified in written notes (in some cases even designed) to be added, an activity not negligible and the production of discourse, a discourse on and the music, whose movement has spread outside of the conservatory, tapping , albeit briefly, other places, other places of society. The issues surfaced during this first year of work (which is officially testing for students, in reality it is for the course itself) have been varied and not always related to consequential or historical logic. The basic idea being to leave as much as possible free field to the initiative of the participants (including, of course, the 'teacher'), on the first job offers were crossed in bulk and routes beaten very often proved a dead end: so few attempts to imitate musical structures and processes evolved very systematically ( Bach, classical sonata, twelve-tone Schoenberg etc...) The lack of an address bias has perhaps given the impression at times that we were wasting our time. Better yet a bit 'of time spent on self-definition (albeit guarded) to a choice, not the long years spent (and perhaps lost) in learning something that others have chosen. Gradually, however, found the blind alleys (blind, of course, for the interest of the individual), traced the problems within the horizon of each technical, you have come delimiting two preferential areas, which focused participants' attention: the late-medieval music-in particular Minnesang and the Italian Trecento ( Squarcialupi Code) - and structuralism of our time, from the Bartók integral serialism and technical groups . Participants with little or no technical knowledge so they have experienced through the mediation of archaeological, a type, albeit rather simple, compositional activity, not exercise the abstract grammar of a language set, but actual production of the musical sense by coordinates freely chosen language. He thus avoided the traditional separation (if not opposed) the organizational dimensions of music (harmony = vertical, horizontal = melody-linear, horizontal = polilineare-counterpoint, form = overall), returning to productive behavior that organic unity however, is the natural activity of the corresponding perceptive organs. At the organic consciousness of both moments, the production and perception, we tried reaching through the patient work of analysis, aimed primarily at models chosen for the practical exercise of composition: one medieval models, other examples of structural engineer from Bartók to Stockhausen. Sporadically were analyzed examples taken from language 'tonal' ( Schubert, Mahler ). About the methods of analysis and testing of composition, has prevailed, after attempts in various directions, a dynamic address-transformational rather than static-structural. However, this is without prejudice to the autonomy of individual research, each experiment in composition. It is deliberately avoided a body of rules (grammar, syntax, formal) that it was not immediately deduced from the examination of historic objects, ancient or recent. In each case the criteria for the organization of sound, objectively valid in their historical position, were taken as completely arbitrary in the experiments conducted within particular areas of composition biases (language). Thus the traditional ban on the fifth and eighth in succession, as well as the prohibition of the eighth for the twelve-tone works were analyzed as negative Conventions (disqualifications) defined within semiological privileged spaces of our culture, it is nevertheless retained only in If the technical details of the experiment in question actually fell in the area of \u200b\u200binterdiction, not so in the case of two counterpoints to set more or less Ars Nova, and even (as regards the prohibition of an octave) in some experiments stockhauseniana ' Gruppentechnik '. The arbitrary choice of the systematic areas (language) and, consequently, its standards of conduct, have often made it difficult a precise definition of the error. The correction, except in cases of flagrant inconsistency, it was so understood and practiced more as an attempt to improve the performance information of a certain structure, a certain procedure, not as a replacement of the 'wrong' with the 'right'. Any proposed change was still more or less widely discussed, rejected, or sometimes even temporarily shelved. Among the ways of working, the most acceptable was the joint discussion on both historical examples that elaborate on data from individual participants. Has been attempted several times, and with satisfactory results, even a practice extemporaneous composition (eg the board) and group, both encoded materials ( ars nova, Minnesang ) and on non-encoded (groups, sound- noise, music, gesture).
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