Pub Date : 2023-07-01DOI: 10.1017/s0040298223000190
Caroline Potter
gentle rhythms and meticulously controlled, quiet feedback and snare noise. This pair worked so well together with their unique yet unified approaches that I preferred the sparser moments where the field recordings were not present. The Jitterbug performance was followed by Viola Yip’s Liminal Lines II. Yip is known for visceral performances where she attunes her body to the quirks of a particular piece of technology. Liminal Lines II was a gesture-driven noise set where she interacted with a plastic raincoat, lined with speaker cables, attached to a chain of effects pedals. The performance began with a tone slowly emerging, with slight movements, eventually leading to larger movements to touch different parts of the coat together, allowing noise and feedback patterns to gradually emerge. This then built into a full-bodied noise wall and an eventual scrunching up of the coat. The performance radiated tension with certain gestures not always rewarded, or at least not right away, allowing both artist and technology to become symbiotic agents in the work. Yip’s set was complemented well that evening by a very differently approached noise set from Nacre (Marion Camy-Palou) working with a simple set-up of electric guitar, amp and effects pedals. The craft that went into this performance was incredible. Nacre’s approach possessed a powerful rawness: relentless attacks on the guitar with sounds emerging that were so detailed it almost seemed like magic, given the set-up. The textural detail was particularly special: swiftly and fluidly morphing between and layering percussive tones, voice-like feedback, rich drones and noise walls. I am always excited when contemporary music organisations make the effort to step out of the concert hall and cross over with popular music, jazz or the more DIY side of experimental music. I strongly believe that these communities should mix more and that they can inspire and learn from each other. This year’s Electric Spring put on two acts that did this. Four-piece ‘avant-pop experiment’ Saenture worked well in this role with a set that moved between drummachine dance tracks and ambient tracks with synth drones, field recordings and beautiful moments from a gently played processed psaltery harp. Two of the members were responsible for a wonderfully organic approach to visuals, drawing and collaging images under a projector. The festival also put on post-rock band Adore// Repel, which frankly was mediocre with a standoff laddishness that I prefer to avoid when I can. I would have been much more excited to hear a rock band that were more exploratory and inclined to care about experimental music, of which there are plenty in the north of England. Though Electric Spring, like any festival aiming to be varied, had points that were hit-or-miss, I truly believe it to be special in terms of programming exciting music, pushing boundaries and bringing together a curious community of listeners and practitioners.
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Pub Date : 2023-07-01DOI: 10.1017/s0040298223000128
{"title":"TEM volume 77 issue 305 Cover and Back matter","authors":"","doi":"10.1017/s0040298223000128","DOIUrl":"https://doi.org/10.1017/s0040298223000128","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41297279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1017/S0040298223000050
A. Moorehouse
Abstract This article discusses responses to the survey-score Where are we Going? and What have we Done?, which sets out to explore how Anglophone composers choose to ground the impacts of their compositional practice. The composers’ responses primarily centred around the psychosocial impacts of composition, and the article unpicks some of the implications of this focus. The article then details the effect the survey-score had on my own composing, before outlining the affordances of narrative approaches to the act of scoring, and their ability to shine a brighter light on the impacts of our practice, both retrospectively and also with regards to future performances.
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Pub Date : 2023-07-01DOI: 10.1017/S0040298223000074
Thomas Metcalf
Abstract This article investigates the prolific deployment of images in Pascal Dusapin's scores of the mid to late 1990s. Using Edwin Gordon's concept of ‘audiation’ and Siglind Bruhn's concept of ‘musical ekphrasis’, as well as Neal Curtis’ ideas on the agency and liveness of images, interdisciplinary interpretations of three Dusapin works are offered, using the score image as the main analytical starting point. Beginning with his Piano Études and Loop, these analyses will demonstrate how the score images, derived from the study of ‘catastrophe theory’, prefigure the control of various musical parameters relating to the relationship of variables in this mathematical concept and its forms. An analysis of String Quartet No. 4, notable for its use of both a score image (of a machine) and textual quotation (from Samuel Beckett's Murphy), will then demonstrate how the visual can interact with the verbal to construct a plurality of musical metaphors. The article concludes by positing that Dusapin's elusiveness on the role and function of the images within his work could amount to what W. T. J. Mitchell describes as ‘ekphrastic fear’: an anxiety that the composer's success amalgamating image and music might have broken down the ontological boundary between them.
摘要本文研究了帕斯卡·杜萨平20世纪90年代中后期音乐作品中意象的大量运用。运用埃德温·戈登的“试听”概念和西格林德·布鲁恩的“音乐短语”概念，以及尼尔·柯蒂斯关于图像的能动性和活跃性的观点，以乐谱图像为主要分析起点，对杜萨平的三部作品进行跨学科解读。从他的Piano Études和Loop开始，这些分析将展示来自“突变理论”研究的乐谱图像如何预示着与这个数学概念及其形式中的变量关系相关的各种音乐参数的控制。对《弦乐四重奏4》的分析，以其使用乐谱图像(一台机器)和文本引用(来自塞缪尔·贝克特的《墨菲》)而闻名，然后将展示视觉如何与语言相互作用，以构建多种音乐隐喻。这篇文章的结论是，杜萨平在他的作品中对图像的角色和功能的难以捉摸可能相当于W. T. J.米切尔所描述的“ekphrastic fear”:一种焦虑，即作曲家成功地将图像和音乐融合在一起，可能打破了它们之间的本体论界限。
{"title":"BETWEEN AUDIATION AND EKPHRASIS: PASCAL DUSAPIN'S ‘FALSE TRAILS’","authors":"Thomas Metcalf","doi":"10.1017/S0040298223000074","DOIUrl":"https://doi.org/10.1017/S0040298223000074","url":null,"abstract":"Abstract This article investigates the prolific deployment of images in Pascal Dusapin's scores of the mid to late 1990s. Using Edwin Gordon's concept of ‘audiation’ and Siglind Bruhn's concept of ‘musical ekphrasis’, as well as Neal Curtis’ ideas on the agency and liveness of images, interdisciplinary interpretations of three Dusapin works are offered, using the score image as the main analytical starting point. Beginning with his Piano Études and Loop, these analyses will demonstrate how the score images, derived from the study of ‘catastrophe theory’, prefigure the control of various musical parameters relating to the relationship of variables in this mathematical concept and its forms. An analysis of String Quartet No. 4, notable for its use of both a score image (of a machine) and textual quotation (from Samuel Beckett's Murphy), will then demonstrate how the visual can interact with the verbal to construct a plurality of musical metaphors. The article concludes by positing that Dusapin's elusiveness on the role and function of the images within his work could amount to what W. T. J. Mitchell describes as ‘ekphrastic fear’: an anxiety that the composer's success amalgamating image and music might have broken down the ontological boundary between them.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43926564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1017/s0040298223000116
{"title":"TEM volume 77 issue 305 Cover and Front matter","authors":"","doi":"10.1017/s0040298223000116","DOIUrl":"https://doi.org/10.1017/s0040298223000116","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42357501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1017/S0040298223000086
Sarit Shley-Zondiner
Abstract In her two recent operas, Heart Chamber (2017–19) and Infinite Now (2015–16), Chaya Czernowin uses vocal ensembles to embody a single character. In a 2016 article, she explained that she wanted to liberate the individual voice from its fixed emotional, social and individual conventions (especially its ingrained pathos), and to work with the voice as a free imaginative sonic material, using the ensemble technique to achieve this. This article argues that the voice ensemble technique amplifies and intensifies the pathos of the voice rather than eliminating it. Recognising that the voice has strong somatic qualities since it is produced in the body, I suggest a material-musical analysis, based on the theories of Hans Ulrich Gumbrecht and Brian Massumi, that focuses on the body, the sensual experience and the physical space, and rejects the hermeneutic tradition that refers to meaning and interpretation only. What emerges is that the voices, instrumentation and electronics of the ensemble are designed to embody the inner body and the outer space at the same time. The voice ensemble may split and produce multi-layered mental–physical states, and express how traditional dichotomies, such as culture/nature, body/mind and subject/object, can meld into multi-perspective processual movements. It is in this intersection of sound and drama, manifesting the corporeal, that the unique power of opera is evinced.
{"title":"STRIVING FOR THE UNDERNEATH: BODY AND PATHOS IN CHAYA CZERNOWIN'S COMPOSITION FOR VOICE IN INFINITE NOW AND HEART CHAMBER","authors":"Sarit Shley-Zondiner","doi":"10.1017/S0040298223000086","DOIUrl":"https://doi.org/10.1017/S0040298223000086","url":null,"abstract":"Abstract In her two recent operas, Heart Chamber (2017–19) and Infinite Now (2015–16), Chaya Czernowin uses vocal ensembles to embody a single character. In a 2016 article, she explained that she wanted to liberate the individual voice from its fixed emotional, social and individual conventions (especially its ingrained pathos), and to work with the voice as a free imaginative sonic material, using the ensemble technique to achieve this. This article argues that the voice ensemble technique amplifies and intensifies the pathos of the voice rather than eliminating it. Recognising that the voice has strong somatic qualities since it is produced in the body, I suggest a material-musical analysis, based on the theories of Hans Ulrich Gumbrecht and Brian Massumi, that focuses on the body, the sensual experience and the physical space, and rejects the hermeneutic tradition that refers to meaning and interpretation only. What emerges is that the voices, instrumentation and electronics of the ensemble are designed to embody the inner body and the outer space at the same time. The voice ensemble may split and produce multi-layered mental–physical states, and express how traditional dichotomies, such as culture/nature, body/mind and subject/object, can meld into multi-perspective processual movements. It is in this intersection of sound and drama, manifesting the corporeal, that the unique power of opera is evinced.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47562540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1017/s0040298223000104
Catherine E. Lamb, Catherine E. Lamb
{"title":"PROFILE: CATHERINE LAMB","authors":"Catherine E. Lamb, Catherine E. Lamb","doi":"10.1017/s0040298223000104","DOIUrl":"https://doi.org/10.1017/s0040298223000104","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48618109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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