A musical notation is a language which determines what you can...
Transcript of A musical notation is a language which determines what you can...
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Richard Hoadley2007-11
v0.3110309
Notation as Art
"A musical notation is a language which determines what you can say;what you want to say determines your language." Cornelius Cardew 1961
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Note
This presentation is available in pdf format at
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No
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rt L
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Ant
onii
Junt
eC
antorinus ad
Eo
rum Instructio
nem (1540)
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Robert Fludd (1574-1637)
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Robert Fludd (1574-1637). Opera, [Francofurti : Goudae], Oppenhemii,J. Th. de Bry et haeredes, C. F. et G. Fitzer, P. Pammazenius, 1617-1638.
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Etude: Expérimentale d’Acoustique Musicale (1920)
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Gab
riel S
izes
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schLeaves 2 (1993)
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“This score can be performed aurally, visually, kinesthetically,synaesthetically, interactively, literally, symbolically, or philosophically.”
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schInside the Wind for Chorus (2003)
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Tor
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kem
itsuStudy for Vibration (from Corona for Pianists) (1962)
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"The performance may start at any point of the perimeter no matter clockwise or counterclockwise."
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Mur
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aferDivan I Shams I Tabriz for Orchestra, seven singers and electronic sounds
(1977)
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Bar
ry G
uyB
ird G
ong
Gam
e (1990)
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Treatise (detail, with audio) (1967)
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Notation as Art Cornelius Cardew
Reco
rdin
g fr
om C
orne
lius
Card
ew M
emor
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once
rt:
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://w
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.ubu
.com
/sou
nd/c
arde
w.h
tml
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Treatise (detail) (1967)
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Notation as Art Cornelius Cardew
Treatise - Performed by Seven Guitars
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Treatise (detail) (1967)
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Notation as Art Cornelius Cardew
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Car
dew
Treatise (detail) (1967)
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[6:31]
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Trea
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eorge Crum
b: M
akroko
smo
s I - 12. Sp
iral Galaxy
[Sym
bol] Aquarius (1973)
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eorge Crum
b Makro
kosm
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gnus D
ei [S
ymb
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aprico
rn (1973) (w
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Elizabeth Harington The Art of Fugue bookart
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Elizabeth Harington The Art of Fugue bookart
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A literary use or response to the fugue can be found in Joyce's 11th episode in Ulysses ('Sirens') in which the wording and chapter structure attempted - with some poetic license - to mimic or work within the rules of the fugue. Unsurprisingly, a quick search on 'Sirens' revealed that John Cage, a leading musical experimentalist and graphic score 'artist' names James Joyce as an influence (also see Cage’s Roratorio).
See: 'James Joyce and Avant Garde Music', Scott W. Klein 2004 at the Contemporary Music Centre.
James Joyce and Avant Garde Music
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Kerry John Andrews For Andrea section 4 [detail]
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Screen capture from See Music Project: Kircher/Monteverdi
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As you can see from these examples, notation is more than just a particular view of a particular musical idea - it will soon become apparent that musical notation has a profound effect on the nature of the ideas themselves, as well as indicating to us the musical priorities of the culture that invented them.
As you can imagine, these notations have a significant effect on what can be described and how it can be described. Virtually any piece of western classical music would be difficult to read or write using this system. What does this tell us about notation in general?
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Above is a table from Hugo Cole's book Signs and Symbols, showing examples of two primary types of musical symbols used throughout the world. As you can see, this division also applies to other symbols we use, including our written languages. Symbols either describe their meaning by graphical similarity (pictograms) or through less obvious, more abstract associations (although these may well have once been graphical too), (ideograms).
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Also taken from Hugo Cole's book. Take a very simple human verbal response and, through a variety of processes of varying complexity, investigate the varieties of notation appropriate.
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Since the early days of western notation, certain elements have become more and more explicitly governed by notation and at the same time, the complexity of the musical grammar of these ideas has also become more complex as composers have sought to achieve ever more original ideas. The first two examples, both from Stockhausen show one aspect of this problem, specifically here with the complexity of dynamic information making both the reading and performance of such material very difficult:
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Boulez Le Marteau Sans Maitre original
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• There follow a variety of examples of different forms of notation.
• See how well you think they communicate. • Why have none of these, or, for that matter, any of the
other examples of these really come into use? Or have they?
• Can you think of any examples which might have done?
• Why do you think these composers felt the need to experiment in these ways?
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Play a soundPlay it for so long
until you feelthat you should stop
Again play a soundPlay it for so long
until you feelthat you should stop
and so on
Stopwhen you feel
that you should stop
But whether you play or stop:keep listening to the others
At best playwhen people are listening
Do not rehearse
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http://bibliodyssey.blogspot.com/2006/07/visual-context-of-music.html
http://www.blockmuseum.northwestern.edu/picturesofmusic/
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Other Presentations
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Notation as Art
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End
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