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Choreosonographies
Choreosonographies (''choreosonography'') is a term developed by Óscar Mascareñas from the Irish World Academy of Music and Dance, in the University of Limerick, to describe the investigation of the multiple possibilities of expression that dwell within the human body, including the exploration of musical 'sensuousness' and its relationship with the voice. From a sonic perspective, the choreosonographies may develop from playing within - and beyond - a frame posed by the structures of existing music, which is seen as an open system that permits the re-interpretation of seemingly fixed scores using alternative techniques of voice production and composition. Moreover, from both sonic and movement viewpoints, a choreosonography entails the making of ''collective compositions'', in which the performers work on a continuous and never-ending exploration of sound, movement, force and emotion to create a choreosonographic score that is always re-worked/re-written in every performance, and thus never final or closed. In this regard, a choreosonography develops its own frame, where the creative impulse is a force that ''always already'' resists becoming form, becoming ''represented'', even though - as Jacques Derrida suggests elsewhere - the representation of that force can only be done by ''re''-presenting ''it'', i.e., by presenting ''it'' again - as if for the first time.
== Background ==
The concept of choreosonography developed from Óscar Mascareñas' doctoral research on Gregorian chant. His thesis focused on the study of the quilisma and oriscus (two signs that so far have been understood as ornamental) in a set of particular Gregorian chant manuscripts dating from 10th and 11th centuries. Inspired by, and based on, some of the ideas/concepts of the eminent 20th-century philosopher Jacques Derrida, it aimed to challenge the premises of the comparative methodologies employed by Dom Eugène Cardine and his semiological school to study the meaning of the chant signs, as well as to challenge other very influential Gregorian chant theories that are based on the notion of formula and on concepts that are closely related to it – such as that of variant, identity, the oral and the written in chant transmission, and the concept of sign meaning. This was done by proposing a radical view that introduces a different way of interpreting the extant evidence, one that sees the chant manuscripts as an opening of re-presentation, where what they contain is no longer fixed (neither by the ink nor by an ultimate interpretative theory), but open to an active and continuous process of change and innovation.
Based on these ideas and concepts, Mascareñas started to experiment and apply them to the realm of voice and dance. The result is not (necessarily/not always necessarily) a work that shows the combination of one form and the other, but a work that emanates from a single impulse or force.
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