ART Habens
Ayelet Cohen
The involvement of music in the creative process begins when the piece is still just an idea. My dialogue with the composer begins there.
We sit together to formulate a preliminary, external sketch of the piece; in other words, how many parts it will contain, what each part will reflect, which elements will be incorporated, what the duration of the piece will be, and more.
During the practical stage in the studio, improvisation enters the scene. I use it to create central motifs that will be the basis for the entire movement scheme.
From the moment that the concept for the piece has been born, and the importance of the structure upon which the piece is based is formulated, my thoughts revert to being more figurative and I set out to search for movement that will best serve the subject. Perhaps the best way to define the physical process is the development of subject and variation.
As can be seen in the piece entitled“ Windmill,” the idea is the body itself and its physical nature. The piece developed out of my desire to build music from air. Thus, the structure was very defined and clear from the start, and as a result, the preliminary improvisation in the studio was determined very quickly to express the language.
Following this stage, which ends pretty quickly in the studio, there isn’ t much more improvisation involved, except for perhaps in the content that
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