Pub Date : 2023-09-01DOI: 10.1017/S0040298223000487
Alex Huddleston
tones fall out one by one like loose teeth’, as Brodsky brilliantly puts it). Mac̆elaru and the WDR Sinfonieorchester handle this balance well, presenting every gesture sincerely while allowing each the possibility of collapse, eruption or transformation, never letting them lapse into irony. And still, despite an abundance of ‘moments’ (like those chords, like the solos for horn or piano, like the pulsing wooden percussion, like the Copland-esque trumpets of the third movement), Lim’s music remains fundamentally concerned with lines. The only difference with an orchestra is that they are more thickly drawn and are stretched over greater distances. Again, Mac̆elaru and his orchestra excel at maintaining the necessary momentum through a rapidly shape-shifting terrain. When, in the final movement, Emily Hindrichs’ soprano arrives (one can’t help but think of Beethoven) she feels like a sublime but utterly natural addition, blooming, almost imperceptibly at first, out of those trumpet calls. She sings words by Etel Adnan, from ‘The Spring Flowers Own’, the image of a loved one moving ‘like a bunch of flowers’, a ‘light-wave’, ‘the beginning of the day’. Driven by desire, the line keeps moving.
{"title":"Frank Denyer","authors":"Alex Huddleston","doi":"10.1017/S0040298223000487","DOIUrl":"https://doi.org/10.1017/S0040298223000487","url":null,"abstract":"tones fall out one by one like loose teeth’, as Brodsky brilliantly puts it). Mac̆elaru and the WDR Sinfonieorchester handle this balance well, presenting every gesture sincerely while allowing each the possibility of collapse, eruption or transformation, never letting them lapse into irony. And still, despite an abundance of ‘moments’ (like those chords, like the solos for horn or piano, like the pulsing wooden percussion, like the Copland-esque trumpets of the third movement), Lim’s music remains fundamentally concerned with lines. The only difference with an orchestra is that they are more thickly drawn and are stretched over greater distances. Again, Mac̆elaru and his orchestra excel at maintaining the necessary momentum through a rapidly shape-shifting terrain. When, in the final movement, Emily Hindrichs’ soprano arrives (one can’t help but think of Beethoven) she feels like a sublime but utterly natural addition, blooming, almost imperceptibly at first, out of those trumpet calls. She sings words by Etel Adnan, from ‘The Spring Flowers Own’, the image of a loved one moving ‘like a bunch of flowers’, a ‘light-wave’, ‘the beginning of the day’. Driven by desire, the line keeps moving.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"121 - 122"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47393411","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 : 2023-09-01DOI: 10.1017/s0040298223000530
Tim Rutherford-Johnson
first performance is just one illustration of their astonishing control. The two performances are of course different from each other: on one occasion I found the second performance rather more fragile and attenuated in the middle of the work than the first one, though I did not feel this was the case on another listen. Either this is an extremely novel type of CD where the performance actually changes each time it is played, or my personal journey through each performance was different each time I listened. Perhaps this is because the music facilitates deep reflection and provides a space for the listener to bring something of themselves to the music?Whatever your own journey through this fascinating recording will be, prepare for an immersive and time-altering experience.
{"title":"Héctor Parra","authors":"Tim Rutherford-Johnson","doi":"10.1017/s0040298223000530","DOIUrl":"https://doi.org/10.1017/s0040298223000530","url":null,"abstract":"first performance is just one illustration of their astonishing control. The two performances are of course different from each other: on one occasion I found the second performance rather more fragile and attenuated in the middle of the work than the first one, though I did not feel this was the case on another listen. Either this is an extremely novel type of CD where the performance actually changes each time it is played, or my personal journey through each performance was different each time I listened. Perhaps this is because the music facilitates deep reflection and provides a space for the listener to bring something of themselves to the music?Whatever your own journey through this fascinating recording will be, prepare for an immersive and time-altering experience.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"128 - 129"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41439355","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 : 2023-09-01DOI: 10.1017/S004029822300044X
Edward R. Cooper
and time signatures as the piccolo but is written in proportional or spatial notation where 20 millimetres of stave equals a quaver of the piccolo’s tempo (not clock time), which is mostly quaver equals metronome 26 to 34(!). Similarly, the Accanto piece is written in spatial notation, which, I would argue, negates the need for rhythmic notation, as the two things do the same job. While this might please the composer’s notational obsessions, for the player it is an easy get-out (used before by some of the older ‘new complexity’ composers) and means they simply don’t have to bother working out those rhythms. The problem is that you can hear this in the performances, where what might have been jagged, unexpected placements are evened out by the player’s natural ‘musical’ instincts based on, for example, their breathing, even heartbeat, and certainly some kind of internalised pulse against which to play the micro-‘off-beats’. Johnson further confounds things by stating, ‘The rhythmic language. . . is extremely complex and detailed, but it is treated in a flexible, almost “improvisatory” manner.’ So, despite there being much to fascinate and enjoy here, my ‘why?’ question still stands.
{"title":"Eden Lonsdale","authors":"Edward R. Cooper","doi":"10.1017/S004029822300044X","DOIUrl":"https://doi.org/10.1017/S004029822300044X","url":null,"abstract":"and time signatures as the piccolo but is written in proportional or spatial notation where 20 millimetres of stave equals a quaver of the piccolo’s tempo (not clock time), which is mostly quaver equals metronome 26 to 34(!). Similarly, the Accanto piece is written in spatial notation, which, I would argue, negates the need for rhythmic notation, as the two things do the same job. While this might please the composer’s notational obsessions, for the player it is an easy get-out (used before by some of the older ‘new complexity’ composers) and means they simply don’t have to bother working out those rhythms. The problem is that you can hear this in the performances, where what might have been jagged, unexpected placements are evened out by the player’s natural ‘musical’ instincts based on, for example, their breathing, even heartbeat, and certainly some kind of internalised pulse against which to play the micro-‘off-beats’. Johnson further confounds things by stating, ‘The rhythmic language. . . is extremely complex and detailed, but it is treated in a flexible, almost “improvisatory” manner.’ So, despite there being much to fascinate and enjoy here, my ‘why?’ question still stands.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"124 - 125"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44944973","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 : 2023-09-01DOI: 10.1017/S0040298223000311
Callum G'Froerer
Abstract This article discusses the way textile metaphors can act as catalysts for reflection in my practice as a trumpet performer and composer. Metaphors such as ‘fibre’, ‘spin’, ‘yarn’, ‘ply’, ‘weave’, ‘loom’, ‘drape’ and ‘felt’ are engaged as lenses through which the dynamic, contingent and tailorable interactions are made between sonic and extra-sonic elements in my expanded practice. The metaphors are engaged to shape instrumental techniques, improvisation, form, audiovisual media, physicality and spatial design. In this article, I describe how I developed my own expanded sonic practice by using Tim Ingold's concept of ‘textility’, expressed as a Textile Sonic Method (TSM). I demonstrate the application of this method using a subset of textile metaphors as the basis for the development of new double-bell trumpet techniques and applications in a range of compositions: Gradient (2020–23), for double-bell trumpet, live video and sound processing, co-composed with Olivia Davies and Nick Roux; Untitled (2021), for double-bell trumpet, portative organ and electronics, co-composed with James Rushford; and my own work Charcoal VI (2017), for spatialised, amplified double-bell trumpet. This article outlines the potential for the application of metaphor as a creative catalyst in an expanded sonic practice.
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000347
Ryan Pratt
Abstract This article investigates intervallic measurement and the tacit limitations engendered by a prevalent symmetrical perspective of measuring intervals. Various numerical and instrumental limitations and further detail of harmonic and melodic structures, such as Farey sequences, are illustrated. This approach distinguishes itself from a perspective of prime limits, explored by Harry Partch and others. A standardisation of ‘microtonal’ notation is not suggested; rather, the restrictions provided by any such standardisation are re-examined through an objective lens of ratios, to harness the generative potential of numbers. An orchestration-led approach to composition is described, where the tuning limitations of instruments are utilised for idiomatic composition. Tuning practices that ‘evade’ the octave are also discussed, including gamelan, mbira and three scales found by Wendy Carlos. The article concludes with a section on the construction of harmonic systems in the absence of instrumental influences.
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Pub Date : 2023-09-01DOI: 10.1017/S0040298223000323
Livia Teodorescu-Ciocănea
Abstract This paper proposes an approach to the representation of mental musical space, understood here as a mental ‘hologram’ of a musical structure created while composing or listening to a piece of music. Composers claim to ‘hear’ music in their mind and ‘see’ it in their spatial imagination; normally we see music graphically represented on two-dimensional staves, but we could mentally decode it in a three- or multi-dimensional space, and I argue that Violeta Dinescu's musical vision occupies a non-Euclidean imaginary musical space rather than the Western classical-music template. Dinescu's graphical design suggests a hyperbolic space, distorting the musical parameters accordingly. Two of her works are discussed: Gehen wir zu Grúschenka, for cello with voice ad libitum, and Herzriss – Aus deinem Herzen kannst du die Liebe nicht ausreißen, an opera for solo voice(s), percussion and cello. The first views the behaviour of musical parameters as if in an imaginary hyperbolic space; the latter exemplifies intertextuality in a cultural hyperbolic space. Both are metaphors of the woman's soul.
摘要本文提出了一种表达心理音乐空间的方法，在这里被理解为在创作或听音乐时创造的音乐结构的心理“全息图”。作曲家声称在他们的脑海中“听到”音乐，在他们的空间想象中“看到”音乐；通常情况下，我们看到的音乐是用二维的条形图表示的，但我们可以在三维或多维的空间中对其进行心理解码，我认为维奥莱塔·迪纳斯库的音乐视觉占据了一个非欧几里得想象的音乐空间，而不是西方古典音乐的模板。Dinescu的图形设计暗示了一个双曲空间，从而扭曲了音乐参数。讨论了她的两部作品：Gehen wir zu Grúschenka，为大提琴创作，声音随意；Herzriss–Aus deinem Herzen kannst du die Liebe nicht ausreißen，为独奏、打击乐和大提琴创作的歌剧。第一种将音乐参数的行为视为在假想的双曲空间中；后者体现了文化双曲空间中的互文性。两者都是女人灵魂的隐喻。
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Pub Date : 2023-09-01DOI: 10.1017/s0040298223000396
A. Lukoszevieze, P. Newland
{"title":"ARTWORK: ANTON LUKOSZEVIEZE","authors":"A. Lukoszevieze, P. Newland","doi":"10.1017/s0040298223000396","DOIUrl":"https://doi.org/10.1017/s0040298223000396","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"115 - 115"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47392132","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 : 2023-09-01DOI: 10.1017/S0040298223000451
Caroline Potter
uration we are continually under. In a way, Matthias Kranebitter brings into the context of contemporary written music an iconoclastic critique of the values and rites inherited from – and still present in – Western classical music, with its clear, delimited context. Relying on plunderphonics – that is, the use of sampled material as a means of accessing different referential spaces – Kranebitter includes the extramusical, the social, even the scientific, all fields in which sound is a discursive agent. The pieces on this album invite the listener to engage with the world through music and sound in its multiple spaces of signification, while also acknowledging the privileged role of music in the discursive sonic treatment of ideas.
{"title":"Eliane Radigue","authors":"Caroline Potter","doi":"10.1017/S0040298223000451","DOIUrl":"https://doi.org/10.1017/S0040298223000451","url":null,"abstract":"uration we are continually under. In a way, Matthias Kranebitter brings into the context of contemporary written music an iconoclastic critique of the values and rites inherited from – and still present in – Western classical music, with its clear, delimited context. Relying on plunderphonics – that is, the use of sampled material as a means of accessing different referential spaces – Kranebitter includes the extramusical, the social, even the scientific, all fields in which sound is a discursive agent. The pieces on this album invite the listener to engage with the world through music and sound in its multiple spaces of signification, while also acknowledging the privileged role of music in the discursive sonic treatment of ideas.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"127 - 128"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44309778","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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