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{"title":"(Per)forming Open Form: A Case Study with Earle Brown’s Novara","authors":"Drake Andersen","doi":"10.30535/MTO.26.3.1","DOIUrl":null,"url":null,"abstract":"Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time. DOI: 10.30535/mto.26.3.1 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.26.3.1","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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形成开放形式:以厄尔·布朗的诺瓦拉为例
大多数关于厄尔·布朗的开放形式作品的叙述都集中在乐谱中个别事件的符号特征上。然而,指挥在确保演出的连续性和形式连贯性方面的作用很少得到承认。在这篇文章中,我分析了布朗指挥他的作品Novara(1962)的三场演出的录音,两次是1966年与Virtuoso Ensemble合作,一次是1974年与一群荷兰音乐家合作。指挥对每场演出的干预体现了一系列的策略,用于暗示结构功能和组织演出时间。演奏中的音乐过程的多样性,以及表演之间的多样性,反过来又与乔纳森·克雷默(Jonathan Kramer)的多重定向线性时间概念相似。DOI: 10.30535/mto.26.3.1卷26,编号3,2020年9月版权所有©2020音乐理论学会
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