Graphic Scores-avant-garde: Difference between revisions

From XPUB & Lens-Based wiki
No edit summary
 
(4 intermediate revisions by the same user not shown)
Line 1: Line 1:
Pad: https://pad.pzimediadesign.nl/p/pts-2017-01-26
=Graphic scores in 20th century avant-garde=
=Graphic scores in 20th century avant-garde=
http://www.juilliard.edu/sites/juilliard.edu/files/journal/2012/05/cage-john.jpg http://www.juilliard.edu/sites/juilliard.edu/files/journal/2012/05/cage-manuscript.jpg
http://www.juilliard.edu/sites/juilliard.edu/files/journal/2012/05/cage-john.jpg




Line 13: Line 15:




* '''instrument configuration'''
** John Cage ''Sonatas and Interludes for Prepared Piano'' (1946-1948) - instrument configuration
** David Tudor ''Rainforest'' - instrument configuration
* '''description sounds gestures'''
* '''roles and responsibilities'''
** John Cage ''Fontana Mix'' (1958)
** examples from Umberto Eco's ''Open Work'' (1962)
* '''changing form'''
** John Cage's ''Theatre Piece'' (1977)
----
==John Cage ''Sonatas and Interludes for Prepared Piano'' (1946–48)==
==John Cage ''Sonatas and Interludes for Prepared Piano'' (1946–48)==
http://exhibitions.nypl.org/johncage/sites/exhibitions.nypl.org.johncage/files/Prepared-Piano.jpg
http://exhibitions.nypl.org/johncage/sites/exhibitions.nypl.org.johncage/files/Prepared-Piano.jpg
Line 133: Line 119:
http://johncage.tonspur.at/wp-content/uploads/2011/12/water-walk-2-e1325859034146.jpeg
http://johncage.tonspur.at/wp-content/uploads/2011/12/water-walk-2-e1325859034146.jpeg


== John ''Cartridge Music'' (1960)==
= Bibliography =
Score elements:
Austin, Larry, and Douglas Kahn. 2017. “Source: Music of the Avant Garde: Everything Changes.” Accessed January 24. http://aaaaarg.fail/thing/52b2f8fb307888821400000c.
* 1 page of instructions,
* 4 transparent sheets: one with points, one with circles, another with a circle that looks like a clock face, and a fourth with a dotted curved line with a circle at the end of it
* 20 pieces of white paper with shapes on them.
 
Placement: superimpose the transparencies over the sheet with shapes to get a determination for playing. You may place the sheets randomly, one on top of the other, only making sure that
the circle at the end of the dotted line contains a point outside a
shape and that the dotted line intersects at least one point within
a shape.
 
Instruction:  
Curved dotted line: is read from beginning to end (marked with a circle) 


Points and circles represent events in the performance:
* when intersected by dotted line
** points are:
*** sounds on (inside a shape) corresponding to that shape
*** sounds off (outside a shape) the cartridge, meaning sounds made by other means than those made by the objects in the cartridges
** circles: mark changes of amplitude (inside a shape) or tone (outside a shape)
** circle boundary of a shape: change of object
Clock face intersections by dotted line:
* enter: starting time.
* exit: ending time.
<pre>http://2.bp.blogspot.com/-5cy6N9OSGoo/UUR2VjRGJJI/AAAAAAAABO8/O8mPxY6Ptis/s1600/John+Cage+-+Catridge+Music.jpg
http://www.arh.bg.ac.rs/wp-content/uploads/2015/09/201516_MASA_A23012_STUDIO_M03A_SEMINAR_LOJANICA_o.jpg</nowiki>
http://www.jaimeoliver.pe/recipes/archaeology/cartridge
https://www.youtube.com/watch?v=H_qgsOLnmkk&t=5s
https://www.youtube.com/watch?v=VaNHAswN2hU
http://exhibitions.nypl.org/johncage/node/203
</pre>
= Bibliography =
Barry, Robert. 2017. “Graphic Scores: From the Symbolic to the Indexical - The Wire.” The Wire Magazine - Adventures In Modern Music. Accessed January 24. http://www.thewire.co.uk/in-writing/columns/robert-barry_drawing-towards-sound.
Barry, Robert. 2017. “Graphic Scores: From the Symbolic to the Indexical - The Wire.” The Wire Magazine - Adventures In Modern Music. Accessed January 24. http://www.thewire.co.uk/in-writing/columns/robert-barry_drawing-towards-sound.



Latest revision as of 14:19, 26 January 2017

Pad: https://pad.pzimediadesign.nl/p/pts-2017-01-26

Graphic scores in 20th century avant-garde

cage-john.jpg


John Cage will be the center figure of this session. Not only due to its the 20th century Western avant-garde music, but moreover, due to the extensive of his exploration of graphical scores, which range from more conventional open scores to systems for generating scores.

why graphic scores?

Keeping the focus on music or sound art, it should be asked why are graphic scores needed? Why were they employed in musical composition?

The immediate answer might simply be to express compositional approaches or ideas in a score that conventional westerner notation is not able to do.

What are the approaches and ideas that graphic scores is better suited to express, than conventional westerner notation?


John Cage Sonatas and Interludes for Prepared Piano (1946–48)

Prepared-Piano.jpg

Directions-Prepared-Piano.jpg

  • the prepared piano entered Cage's repertoire with the composition Bacchanale(1940) for a dance piece by Syvilla Fort
  • Cage wanted to compose a piece with a large amount percussion sounds, however he lacked the space on space for this, and was only provided with a piano
  • he started experimenting with placing metal, rubber and wood objects on the piano strings, to obtain percussion like sounds
  • his preparation provided to a pianist a pallet of sounds and an interface that could only be achieved by a large number of percussionists
  • although the score for Sonatas and Interludes for Prepared Piano is not a graphic score, it included graphic and text notes on how to prepare the piano

cage2.png cage1.png cage3.png

https://www.youtube.com/watch?v=3w7GeJCLpJc

John Cage Music of Changes (1951)

Music-of-changes-4-1.gif

  • composed for David Tudor
  • in its compositional process Cage use the divination text I Ching: The book of Change as a chance mechanism
    • by tossing coins one arrives at an hexagram and a corresponding ambiguous text
  • change determined the sonority (not only pitches, but also complex sounds), durations and dynamics of the different sound events of the piece

https://upload.wikimedia.org/wikipedia/commons/6/6b/Iching-hexagram-08.svg Hexagram 8 Holding together


Jonh Cage Imaginary Landscape N°4 (1951)

  • An electronic composition for 12 radios, operated by two performers each
  • the I Ching was used to create the score: notating volume and tune control
  • More than created by chance this work was indeterminate, as the source of sound - the radio spectrum - it is not known

imaginary-landscape-2-pg-1.jpg

David Tudor Rainforest (I - 1968)(IV - 1973)

rfDiagram73.jpg

  • "sound transformations without the use of electronic modulation: the source sounds, when transmitted through the physical materials, will be modified by the resonant nodes of those materials"
  • "The contact mikes on the objects pickup the resonant frequencies which one hears when very close to the object, and then are amplified through a loudspeaker as an enhancement"
  • "a large group piece actually, any number of people can participate in it… [E]ach person makes their own sculpture, decides how to program it, and performs it themselves"
  • score: diagram describing the connection of the piece's constituent elements
  • a piece that can compose itself out of its constituent elements
  • indeterminacy


moogpatch2.jpg

MOTM_Flute_Patchsheet.jpg

20160218_141517.jpg

John Cage Fontana Mix (1958)

5b15f7b4e45ec255d9017f253c4faed1ae95a2f2.jpg

  • Initially created for composing tape music
  • Luciano Berio's invited Cage to compose a tape piece at the studio of the Milan radio
  • The piece/score boroughs its name from Cage's Milanese landlady, Signora Fontana
  • Although initially the score was created for composing tape music pieces, Cage understood it could serve other compositional contexts.
  • More than a score, perhaps a meta-score, or a tool that allowed many scores to be created from it.

Elements of the score:

  • 1 straight line
  • 1 graph/grid
  • 10 sheets with dots
  • 10 sheets with 6 different curved lines: solid or dotted, in 3 different thicknesses

Water Walk score

1709953u.jpg

1709954u.jpg

1709955u.jpg

1709956u.jpg

1709957u.jpg

Floor plan of Water Walk

water-walk-2-e1325859034146.jpeg

Bibliography

Austin, Larry, and Douglas Kahn. 2017. “Source: Music of the Avant Garde: Everything Changes.” Accessed January 24. http://aaaaarg.fail/thing/52b2f8fb307888821400000c.

Barry, Robert. 2017. “Graphic Scores: From the Symbolic to the Indexical - The Wire.” The Wire Magazine - Adventures In Modern Music. Accessed January 24. http://www.thewire.co.uk/in-writing/columns/robert-barry_drawing-towards-sound.

Driscoll, John, and Matt Rogalsky. 2004. “David Tudor’s ‘Rainforest’: An Evolving Exploration of Resonance.” Leonardo Music Journal 14: 25–30 http://www.jstor.org/stable/1513502.

Eco, Umberto. 1989. “Poetics of the Open.” In The Open Work, 1–23. Cambridge, Massachusetts+: Harvard Univerity Press. https://monoskop.org/images/6/6b/Eco_Umberto_The_Open_Work.pdf.

Holzer, Derek, and Mads BEch Paulszewski. n.d. “Rainforest 2012.” http://macumbista.net/files/rainforest_overview.pdf.

Lucier, Alvin. 2012. Music 109: Notes on Experimental Music. Wesleyan University Press. https://monoskop.org/log/?p=12720.

Pritchett, James. 1993. The Music of John Cage. Cambridge University Press. https://books.google.nl/books?id=riHo22Hi8QAC&printsec=frontcover&redir_esc=y&hl=en#v=onepage&q&f=false.

“Realizing Cage’s Cartridge Music | Jaime E Oliver | Computer Music.” 2017. Accessed January 23. http://www.jaimeoliver.pe/recipes/archaeology/cartridge.

“‘Source: Music of the Avant Garde: Everything Changes.’” 2017. Laboratorie New Music. Accessed January 24. http://www.laboratorienewmusic.com/source-music-of-the-avant-garde-everything-changes/.

“Vague Terrain 19: Schematic as Score | Vague Terrain.” 2017. Accessed January 24. http://web.archive.org/web/20150227025105/http://vagueterrain.net/journal19.