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‘I AM A TEXTURAL COMPOSER’: JANE STANLEY ON THE CREATIVE PROCESS, IMMERSIVE TEXTURES, GLOW AND A NEW SONG CYCLE 我是一位质感作曲家简-斯坦利谈创作过程、身临其境的质感、光芒和新的歌曲循环

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000020

Jane Stanley, Judith Bishop

This is the transcript of an interview with Glasgow-based Australian composer Dr Jane Stanley. The interviewer is Dr Judith Bishop, an Australian poet and lyricist whose words appear in two of the works discussed: ‘14 Weeks’ (from Interval (UQP, 2018) and ‘The Indifferent’ (from Event (Salt Publishing UK, 2007)). The interview was recorded at the University of Glasgow on 29 May 2023 and edited for clarity, length and concision. It was recorded a day after the world premiere of Jane Stanley's 14 Weeks at the Glasgow School of Art Choir Composeher concert in City Halls, Glasgow. In response to a recent survey which revealed huge gender inequalities in the granting of music commissions, Composeher had commissioned seven female composers to write choral works of around ten minutes, of which 14 Weeks was one. The interview ranges widely, from the composer's textural style to her creative process, and touches on her forthcoming composer portrait album, to be released by Delphian Records in 2024.

这是对格拉斯哥的澳大利亚作曲家简-斯坦利博士的采访记录。采访者是澳大利亚诗人和作词家朱迪斯-毕晓普博士，她的词出现在所讨论的两部作品中：14 周》（选自《间歇》（UQP，2018 年））和《冷漠》（选自《事件》（Salt Publishing UK，2007 年））。访谈于 2023 年 5 月 29 日在格拉斯哥大学录制，并进行了清晰度、长度和简洁性方面的编辑。简-斯坦利的作品《14 周》在格拉斯哥市政厅举行的格拉斯哥艺术学院合唱团 Composeher 音乐会上进行了世界首演。最近的一项调查显示，在音乐委约的授予方面存在着巨大的性别不平等，为此，Composeher 委约七位女性作曲家创作十分钟左右的合唱作品，《14 周》就是其中之一。访谈内容广泛，从作曲家的文字风格到她的创作过程，并谈到了她即将于 2024 年由 Delphian Records 唱片公司发行的作曲家肖像专辑。

引用次数: 0

NEW MUSIC AND SUSTAINABILITY 新音乐与可持续发展

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000093

Christopher Fox

This article proposes a series of connections between the consumption of resources, the creation of new music and ideas about sustainability. A number of examples is discussed, from the nineteenth to the twentieth centuries, that illustrate the ways in which conspicuous, and often ethically questionable, consumption has been a signifier for innovation in new music. The article concludes by introducing three of the author's recent works, The calm of mountains, This has happened before and Hieroglyph, as models of a compositional practice that attempts to enact and embody ideas of sustainability.

本文提出了资源消耗、新音乐创作和可持续发展理念之间的一系列联系。文章讨论了从十九世纪到二十世纪的一些例子，这些例子说明了显性消费（往往是道德上有问题的消费）如何成为新音乐创新的标志。文章最后介绍了作者最近的三部作品：《群山的平静》、《以前发生过的事》和《象形文字》，将其作为作曲实践的典范，这些作品试图诠释和体现可持续发展的理念。

引用次数: 0

TRANSFORMING PRACTICE WITH DIGITAL SCORES: DEVELOPMENTS AND CHALLENGES IN A TRANSCONTINENTAL RESIDENCY 用数字乐谱改变实践：跨洲实习的发展与挑战

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000044

Jaslyn Robertson, Solomiya Moroz, Cat Hope, Craig Vear, Iran Sanadzadeh, Helen Svoboda, Chloë Sobek

This article examines how practice-based researchers in a transcontinental intensive residency transformed their practice and developed their skills through composing digital scores. Four researchers from an Australian university undertook an intensive residency in Hamburg, focused on creating and performing new digital scores. An analytical study of this residency was conducted, centred around each researcher's connection to the materials, experiences of flow, changes in digital musicianship and transformations. The study revealed both challenges and illuminating experiences for the researchers. Each composition went through significant changes during, before and after the transcontinental project, resulting in changes to the digital scores, directions for interpretation and the researchers’ established artistic practices. Exposure to new environments and facilities allowed them to develop fresh approaches to collaboration and technology. Engaging with digital scores led to new skills being developed and new collaborative projects with each other and international musicians. The intensive and transcontinental nature of the project resulted in significant developments to the skills and approaches of the four researchers.

这篇文章探讨了以实践为基础的研究人员如何在跨洲集中驻留期间通过创作数字乐谱来改变他们的实践并发展他们的技能。来自澳大利亚一所大学的四名研究人员在汉堡进行了一次集中驻留，重点是创作和表演新的数字乐谱。围绕每位研究人员与材料的联系、流动的体验、数字音乐的变化和转型，对这次驻留进行了分析研究。这项研究揭示了研究人员所面临的挑战和具有启发性的经验。在横跨大陆的项目期间、之前和之后，每首作品都经历了重大变化，导致数字乐谱、诠释方向和研究人员既定的艺术实践都发生了变化。接触新的环境和设施使他们能够开发新的合作和技术方法。在接触数字乐谱的过程中，研究人员开发了新的技能，并与其他研究人员和国际音乐家开展了新的合作项目。该项目的密集性和跨洲性使四位研究人员的技能和方法得到了重大发展。

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引用次数: 0

GETTING OUT OF THE LABYRINTH: GERALD BARRY'S WIENER BLUT AND THE PATH TO PETRA VON KANT 走出迷宫：杰拉尔德-巴里的香肠和通往佩特拉-冯-康德之路

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000056

Mark Fitzgerald

Gerald Barry's approach to composition has undergone a number of changes. Frequently these developments coincide with the composition of a large-scale opera. One of these points of transition in his output occurs in the period before he commenced work on The Bitter Tears of Petra von Kant. Between 1999 and 2000 Barry composed three works – 1998, The Eternal Recurrence and Wiener Blut – in which he attempted to find a new compositional direction after a period in which canonic proliferation dominated his musical material. This article examines some of the main traits of these works, and Wiener Blut in particular, since it contains a greater variety of approaches than the other two compositions. The article also considers how Barry's shift in approach may have been linked to his decision to set Rainer Werner Fassbinder's play. Its quite plain, realistic prose was a contrast to the sort of text Barry had previously chosen to set, requiring a different musical response, and the article draws out some possible connections between Barry's three ‘pointillistic’ compositions and the opera.

杰拉尔德-巴里的作曲方法经历了多次变化。这些变化往往与大型歌剧的创作同时发生。在他开始创作《佩特拉-冯-康德的苦泪》之前的时期，就是他作品中的一个转变点。在 1999 年至 2000 年期间，巴里创作了三部作品--《1998》、《永恒的重现》和《维纳的污垢》--在这三部作品中，他试图在音乐素材充斥着歌剧作品的时期之后找到新的创作方向。本文探讨了这些作品的一些主要特征，尤其是《维纳河畔》，因为与其他两部作品相比，它包含了更多不同的创作手法。文章还探讨了巴里创作手法的转变与他决定为莱纳-维尔纳-法斯宾德的剧本配乐之间的关系。该剧的散文相当朴实、写实，与巴里之前选择的文本形成鲜明对比，需要不同的音乐回应，文章总结了巴里的三部 "点彩 "作品与歌剧之间的一些可能联系。

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引用次数: 0

PROPORTION AND SYMMETRY AS MUTUAL ANTAGONISTS IN TUNING: SOME QUARTER-TONE RESOURCES 比例与对称在调音中的相互对立：一些四分音资源

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s004029822400007x

Joe Bates

Quarter-tones have the dubious honour of being the microtonal default in Western art music, yet they have been of little recent interest to those most involved with extended intonation. Other microtonal equal divisions have appealed as pragmatic approximations of consonant just-intonation intervals, something that quarter-tones do not offer. This article proposes that quarter-tones can be valued in a different way, for their ability to generate symmetrical harmonic resources that divide the fourth and fifth as the tritone does the octave. These resources are offered as examples of a broader aesthetic of symmetry, which is contrasted with an aesthetic of proportion. These antagonistic principles are explored through the case of the ever problematic tritone, illustrating how proportion and symmetry are best understood using the symbolic resources of just intonation and equal temperament respectively. Drawing on the work of Robert Hasegawa, Georg Friedrich Haas and Ivan Wyschnegradsky, the article argues for a hybrid approach that embraces both just intonation and equal temperament.

在西方艺术音乐中，四分音有着微调默认音程的殊荣，然而对于那些最热衷于扩展音调的人来说，四分音近期却鲜有人问津。其他微调的等分法是对辅音刚音音程的实用近似，而四分音却不具备这种优势。本文认为，四分音可以以另一种方式得到重视，因为它们能够产生对称的和声资源，像三度音划分八度音那样划分四度和五度。这些资源是更广泛的对称美学的范例，与比例美学形成鲜明对比。我们通过一直存在问题的三度音来探讨这些对立的原则，说明如何分别利用公正音调和平均律的象征性资源来最好地理解比例和对称。文章借鉴了罗伯特-长谷川（Robert Hasegawa）、格奥尔格-弗里德里希-哈斯（Georg Friedrich Haas）和伊万-维施内格拉德斯基（Ivan Wyschnegradsky）的研究成果，主张采用一种混合方法，同时包含公正音调和平均律。

引用次数: 0

HABITUS, RESISTANCE AND THE PRODUCTION OF MUSICAL MEANING 习惯、抵制和音乐意义的产生

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000081

Niamh Dell

This article defines and explores the concept of ‘resistance’ as a source of musical meaning in performance. Using Pierre Bourdieu's concept of ‘habitus’ as a framework, I examine my musical habitus: the embodied, internalised ways I play my instrument and think about music, which reflect my extensive musical histories and the fields in which these histories have taken place. Resistance arises in practice when this habitus is undermined. When the types of musicking undertaken circumvent my habituated understanding of acceptable performance and performative roles, it manifests as a pull towards more familiar modes of musical engagement. Making specific reference to resistance experienced in the development and performance of Alex Harker's Drift Shadow (2021), for solo oboe and electronics, the article outlines the ways in which my subjective relationship to my instrument and my role as a performer produce particular understandings of a work that can then nuance the way I play the piece.

本文定义并探讨了 "阻力 "这一概念，将其视为表演中音乐意义的来源。我以皮埃尔-布迪厄的 "惯习 "概念为框架，研究了我的音乐惯习：我演奏乐器和思考音乐的体现性、内化的方式，这反映了我广泛的音乐历史以及这些历史所发生的领域。当这种习惯受到破坏时，在实践中就会产生抵触情绪。当所从事的音乐活动类型绕开了我对可接受的表演和表演角色的习惯性理解时，就会表现为对更熟悉的音乐参与模式的牵引。文章特别提到了在开发和演奏亚历克斯-哈克（Alex Harker）为双簧管独奏和电子乐而作的作品《漂影》（Drift Shadow，2021 年）时所遇到的阻力，概述了我与我的乐器之间的主观关系以及我作为演奏者的角色如何产生对作品的特殊理解，进而使我演奏作品的方式发生微妙变化。

引用次数: 0

MOVEMENTS OF A MUSICIAN WORKING: PHILL NIBLOCK (1933–2024) 音乐家的工作动态：菲尔-尼布洛克（1933-2024 年）

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000068

Harald Muenz, Anton Lukoszevieze, Eleanor Cully Boehringer, Walter Zimmermann, Phil Maguire

In February 2011 the Brunel Sound Series hosted Phill Niblock at Brunel University London, a memorable visit expertly orchestrated by our late colleague Bob Gilmore.1 The occasion featured Phill's Disseminate and the premiere of his TWO LIPS aka Nameless, led by Bob. As an amateur clarinet player, in an ensemble made up of Brunel staff and students, I had the privilege of delving into the intricacies of Niblock's compositions. The event marked a significant chapter in our music department's history, with performances at Brunel University and, a day later, at London's trendiest club for hip contemporary music, Cafe OTO, in Dalston, leaving an indelible imprint on our students’ musical journey, and not just theirs.2

2011 年 2 月，布鲁内尔声音系列在伦敦布鲁内尔大学举办了菲尔-尼布洛克音乐会，在已故同事鲍勃-吉尔摩（Bob Gilmore）的精心策划下，这是一次令人难忘的访问。作为一名业余单簧管演奏家，我有幸在由布鲁内尔员工和学生组成的乐团中深入学习了尼布洛克错综复杂的作品。这次活动标志着我们音乐系历史上的重要篇章，不仅在布鲁内尔大学演出，一天后还在伦敦最时尚的当代音乐俱乐部--位于达尔斯顿的 Cafe OTO 演出，在学生们的音乐之旅中留下了不可磨灭的印记。

引用次数: 0

THINKING ALOUD: THE SOLILOQUY CYCLE 大声思考：独白循环

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-08-28 DOI: 10.1017/s0040298224000032

Thomas Simaku

Beginning with Soliloquy I for solo violin in 1998, the author has been engaged in creating a series of highly virtuosic solo pieces for various instruments. Each piece presents a different character, yet all are framed by a single protagonist who narrates in different languages.This article focuses particularly on analyses of Soliloquies II, VI, VII, VIII and IX, but also offers a discussion of the genesis of and processes involved in the whole cycle, which now embraces instruments from every section of the orchestra; the most recent, Soliloquy IX, for solo trumpet, was written in 2022. The suitability of the title Soliloquy is also considered; this article in turn could itself be considered a soliloquy.

从 1998 年为小提琴独奏创作的《独白 I》开始，作者一直致力于为各种乐器创作一系列技艺高超的独奏曲。本文重点分析了《独白二》、《独白六》、《独白七》、《独白八》和《独白九》，同时也讨论了整个作品的起源和创作过程。文章还考虑了 "独白 "这一标题是否合适的问题；这篇文章本身也可被视为一首独白。

引用次数: 0

SEATON SNOOK AND THE BUILDING OF A PARAFICTIONAL SEASIDE TOWN 西顿-斯努克与虚构海滨小镇的建造

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-04-01 DOI: 10.1017/s0040298223000955

Peter Falconer

Seaton Snook was a thriving community of fishermen, blacksmiths, teachers, seacoalers, labourers and musicians on the coast of County Durham, UK. After 1968, however, government records and newspaper reports referring to the town cease and there are, apparently, no former residents still living. This article outlines the creation of What Happened to Seaton Snook?, an internet-based archive of sounds and music from the area, its residents and its workers, devised to try and form a picture of the town and what happened there. Among the nearly 100 artefacts in this ethnomusicological study are pieces for piano and harpsichord, pedagogic works, folk tunes for voice and Northumbrian smallpipes, brass band music, Krautrock, psychedelic rock and works for magnetic tape. There are biographies and photographs of people key to the history of the town, and interviews with experts in matters pertaining to the artefacts. The archive also seeks to examine the economic and cultural neglect of the North East of England and the importance of the stories we tell around the music we make.

西顿斯努克曾是英国达勒姆郡海岸一个由渔民、铁匠、教师、海员、工人和音乐家组成的繁荣社区。然而，1968 年之后，政府记录和报纸报道中提及该镇的内容都已停止，而且显然也没有前居民仍然在世。这篇文章概述了 "西顿斯努克发生了什么事？"的创建过程，这是一个基于互联网的档案库，收录了该地区、居民和工人的声音和音乐，旨在为该镇及其所发生的事情绘制一幅画卷。在这项民族音乐学研究的近 100 件文物中，包括钢琴和大键琴作品、教学作品、声乐和诺桑比亚小风笛的民间曲调、铜管乐队音乐、德国摇滚乐、迷幻摇滚乐和磁带作品。档案中还收录了该镇历史上重要人物的传记和照片，以及与文物有关的专家访谈。该档案还试图研究英格兰东北部在经济和文化方面受到的忽视，以及我们围绕音乐所讲述的故事的重要性。

引用次数: 0

IT'S NOT ABOUT YOU: DO WE STILL NEED AN ‘ARTISTIC VOICE’? 与你无关：我们还需要 "艺术之声 "吗？

IF 0.7 4区艺术学 0 MUSIC

Tempo

Pub Date : 2024-04-01 DOI: 10.1017/s0040298223000980

Matthew Shlomowitz

This article considers the possibility that the emphasis we place on composers developing an artistic voice might be unhelpful for making good pieces. I look at what constitutes an artistic voice and consider pros and cons for having a voice. As an alternative I examine strengths and weaknesses for being a capricious composer, which I define as a willingness to explore different compositional avenues without concern for constructing a consistent body of work. My objective is not to discredit composers who have a strong voice, but rather to loosen the grip of the single-voiced model that dominates the value system of new music.

本文认为，我们对作曲家发展艺术声音的强调可能无助于创作出好作品。我探讨了什么是艺术之声，并考虑了拥有艺术之声的利弊。作为另一种选择，我研究了任性作曲家的优缺点。我将任性作曲家定义为愿意探索不同的作曲途径，而不注重构建一个连贯的作品体系。我的目的不是要诋毁那些有强烈声音的作曲家，而是要放松主导新音乐价值体系的单一声音模式的控制。

引用次数: 0

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