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Boris Lesnoy

Boris Lesnoy has emerged from the Moscow Conservatory circles of young dissident composers and has been brewed in the pot of free improvisation practices, sonic performances, and unconventional composition. He studied music composition with Vladimir Gorlinsky and attended several MCME annual Practicums. His piece 'Daughter&dots' for a violin and two voices premiered at the Third Practicum for Contemporary Performing Art, among other works of Tristan Murail, Sofia Gubaidulina and Salvatore Sciarrino. His piece of opera alibretto was performed at the Odd Convergences exhibition by Jean-Hubert Martin in the Pushkin State Museum of Fine Arts. His multi-instrumental music project released on Tawpot label was listed in the Attic magazine's Staff Picks in November & December 2022.


Lesnoy attempts social engagement, creative exchange, and ecological dissemination in terms of meaningful urban development and sustainable public dialog. He strives to develop such a universal creative network that fosters the sense of global citizenship. He is a pioneer of the 'opera alibretto' genre and the inventor of the 'Click-Clack' public music game, which was highlighted by the Golden Mask award in 2023. His operas are inclusive pieces of music that employ linguistic diversity and allow anyone to participate.


Lesnoy is the initial conductor of the Phonema Choir founded in 2020 to facilitate global polyphony by means of social engagement, improvisation, and attentive listening. He is currently developing a workshop programme called 'The art of singing with a fridge', which is the dissemination of timbre-wise music, joint sonification, and attentive listening.



Proposal:

Art:

Western music has passed through several particular stages while following the history of humanity from its cradle. Music had been sacredly obtained and anonymously conveyed before the notion of the art and the author emerged, and the creative process was eventually institutionalized by means of the printing custom. The unpublished rest was abandoned once the opus became the solid representation of one's ideas and emotions. Although since the author has been dead now, we are to inherit its galvanized corpse revelations. At this point, the music industry keeps the masses away from the process of music production and alienates people from taking part by upholding the superstitious demand for qualified sources.


In other words, music has not always been present in the form of art. In fact, it has gradually been altering its forms from a ritual to a piece of art and then to a form of a product. Therefore, our research strives to bridge the evolution of music to a new stage and facilitate it as a medium that will transcend along with the development of intelligence. In fact, we should promote ways to convert consumption into interactive and zero-waste production of immaterial values.


Therefore, we believe that music in the form of a game is the novel era of the music history. This research strives to develop an inclusive and participatory activity available for everyone on the spot. It should be peer-to-peer, spontaneous, boisterous, and common. It should be immersive and interactive.


Particularly, the research will examine the traits of the affluent society of the future and survey the possibilities of global practice in terms of an open space for creative social engagement. It will propose a list of music games challenging our human nature and handling the human-posthuman evolution. The research will structure, describe, test, and record the list of music games which technically are the various order-generating prompts and frameworks enabling joint sonification within a group of participants. In fact, this task is a part of a larger project that comprises a particular curriculum, a catalog of extended vocal technics, a record archive, musical scores, and sonic games.


Additionally, the research will delve into alternative forms of communication beyond natural language, common linguistic structures, biases, and hierarchies. It will draw on the anticipation of the post-scarcity society and propose particular activities on behalf of leisure design.


Ultimately, the research will examine novel types of civil experience that facilitate togetherness and empathy in the era of the advanced posthuman intelligence.


Thus, having explored the various viable approaches to joint sonification in terms of leisure design, we will get closer to establishing a feasible music practice in the form of a game.


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