Pub Date : 2023-09-01DOI: 10.1017/s0040298223000335
Paul Norman
Abstract This article does not attempt to paint a complete picture of Michael Wolters (b.1971) as composer, teacher or researcher. Rather, it is a collection of comments and reflections drawn from a number of recent conversations with him. In these conversations we considered the work he has produced across his career, with a particular focus on his ideas about conceptual working, his outsider position and the essential part that accessibility plays in his creative decision-making.
{"title":"THAT ‘OTHER’ WAY OF WORKING: MICHAEL WOLTERS AT 50","authors":"Paul Norman","doi":"10.1017/s0040298223000335","DOIUrl":"https://doi.org/10.1017/s0040298223000335","url":null,"abstract":"Abstract This article does not attempt to paint a complete picture of Michael Wolters (b.1971) as composer, teacher or researcher. Rather, it is a collection of comments and reflections drawn from a number of recent conversations with him. In these conversations we considered the work he has produced across his career, with a particular focus on his ideas about conceptual working, his outsider position and the essential part that accessibility plays in his creative decision-making.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"104 - 113"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44563953","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/s0040298223000414
A. Lukoszevieze, Walter Zimmermann
{"title":"ARTWORK: ANTON LUKOSZEVIEZE","authors":"A. Lukoszevieze, Walter Zimmermann","doi":"10.1017/s0040298223000414","DOIUrl":"https://doi.org/10.1017/s0040298223000414","url":null,"abstract":"","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"114 - 114"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41915515","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/S0040298223000359
Simon M Kaplan
Abstract This article describes a design process for a composition system based upon the quarter-tone scale. As the semitone and quarter-tone scales share the same properties, a musical grammar based upon the former is used as a model to construct an analogous musical grammar based upon the latter. Within the scope of diatonic modal music, the organisation of pitches and durations is analysed from a scientific perspective. Several parameters are taken into consideration: scale, mode, chord, cadence, metre and rhythm. The one-to-one mapping of each facet of diatonic modality onto quarter-tonality results in diahemitonic modality.
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Pub Date : 2023-07-01DOI: 10.1017/s0040298223000037
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
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{"title":"CONTRIBUTORS","authors":"","doi":"10.1017/s0040298223000037","DOIUrl":"https://doi.org/10.1017/s0040298223000037","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135453898","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/S0040298223000281
Alex Huddleston
Bernard Mâche’s Greek holiday home, provide useful references. Chapter Seven, ‘Some Closer Looks’, continues the discursive breadth that was introduced in the opening chapter. In excerpts from Roger’s notes, there are brief, evocative vignettes; sipping kitrone with Marie-Luce and François-Bernard Mâche on the island of Amorgos, or musings on a boat journey across the Mediterranean. It is clear that Karen and Roger Reynolds formed enduring friendships with their musical colleagues. Letters between Xenakis, Karen and Roger include philosophical questions about life and art, discussions of the serious illnesses that affected both Roger and Iannis and contemplations of friendship. In another setting, this could all seem a little saccharine – happy, successful couples, travelling the world yet cocooned by the prestige of their achievements. This is not the case in this book. Instead, personal reflections, anecdotes and expressions of feeling serve to underline the touching honesty, even idealism, at the heart of this project. All this supplementary material suggests that the Reynolds Desert House was not just a plan for a building, but an idea that grew with and from human connections and the exchange of ideas. The final 11 pages of Chapter Seven are a transcript of a public discussion between four composers at Delphi Computer Music Conference/ Festival in 1992. Although this could seem like a digression, it provides a fascinating insight into the thoughts of Paul Lansky, François-Bernard Mâche, Roger Reynolds and Iannis Xenakis. The pivot towards more generalised musical and philosophical themes sets the scene for Chapter Eight, ‘Creation: A Personal Assessment’. Three of Xenakis’ works are considered: Achorripsis, Thalleïn and Tetras. The authors state that they do not intend to provide a musically detailed study of these works. Nonetheless, the analysis provided is thorough and informative. References are supported by relevant score excerpts. Discussion of Achorripsis acknowledges similarities with Xenakis’ writing in Formalized Music, presented here in ways that are ‘less detailed and more carefully illuminated’. Complex materials, including mathematical formulae, tables of probabilities and a copy of the matrix that Xenakis used in Achorripsis are explained clearly and succinctly. Similar precision is demonstrated in the section-bysection discussion of Thalleïn. Analysis of Tetras usefully focuses on how a listener might comprehend the work. Throughout the final chapter, architectural analogies and parallels with the Reynolds Desert House link musical materials to previous chapters. The closing section returns to Xenakis’ music. As elsewhere, evocative scenes and incisive summaries make for an engaging read, yet I was left feeling that there were unanswered (or perhaps unasked) questions. What is the authors’ final assessment of the Reynolds Desert House project? Given the candid tone of previous chapters, the absence of a definitive evaluation
Bernard m che的希腊度假屋，提供有用的参考资料。第七章，“近距离观察”，继续了在第一章中介绍的论述广度。在罗杰的笔记摘录中，有一些简短的、令人回味的小插曲;在阿莫戈斯岛上与玛丽-卢斯和弗朗索瓦-伯纳德·马切一起啜饮着kitrone，或者在穿越地中海的船上沉思。很明显，凯伦和罗杰雷诺兹与他们的音乐同事建立了持久的友谊。Xenakis, Karen和Roger之间的信件中包含了关于生活和艺术的哲学问题，讨论了影响Roger和Iannis的严重疾病，以及对友谊的思考。在另一种情况下，这一切可能看起来有点甜——幸福、成功的夫妇，环游世界，却被他们的成就所带来的声望所束缚。在这本书中不是这样的。相反，个人的反思、轶事和情感的表达强调了这个项目的核心，即感人的诚实，甚至是理想主义。所有这些补充材料表明，雷诺兹沙漠之家不仅仅是一个建筑计划，而是一个随着人类联系和思想交流而成长的想法。第七章的最后11页是1992年德尔福计算机音乐会议/音乐节上四位作曲家公开讨论的文字记录。虽然这可能看起来有点离题，但它提供了对保罗·兰斯基、弗朗索瓦-伯纳德·马切、罗杰·雷诺兹和伊安尼斯·谢纳基斯思想的迷人见解。转向更广泛的音乐和哲学主题为第八章“创造:个人评估”奠定了基础。Xenakis的三部作品:Achorripsis, Thalleïn和Tetras。作者声明，他们不打算提供这些作品的音乐细节研究。尽管如此，所提供的分析是全面和翔实的。参考文献由相关的分数摘录支持。关于Achorripsis的讨论承认了与Xenakis在《正式音乐》中的写作的相似之处，在这里以“不那么详细但更仔细地说明”的方式呈现。复杂的材料，包括数学公式、概率表和Xenakis在Achorripsis中使用的矩阵副本，都被清晰而简洁地解释了。在对Thalleïn的逐节讨论中也证明了类似的精度。对《Tetras》的分析有效地关注了听众如何理解作品。在最后一章中，与Reynolds Desert House的建筑类比和相似之处将音乐材料与前几章联系起来。结尾部分回到了Xenakis的音乐。和其他地方一样，令人回味的场景和精辟的总结让我读起来很有吸引力，但我还是觉得有一些问题没有得到解答(或者可能没有问过)。作者对雷诺兹沙漠住宅项目的最终评估是什么?鉴于前几章坦率的语气，缺乏一个明确的评价是惊人的。虽然雷诺兹沙漠之家从未建成，但这本书见证了该项目30多年来的创造力和友谊。作为一种催化力量，它的影响力肯定反映在丰富的补充材料上，包括信件、日记和照片，使每一章都栩栩如生。这本书的存在表明，没有一个完整的建筑不必被视为失败。也许结论必然是开放式的，而房子还没有建成。雷诺兹沙漠之家的想法提供了一个框架，作者邀请我们通过这个框架来观察几十年来的艺术努力和友谊。这本书是对充分生活的丰富创造力的肯定证明。
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Pub Date : 2023-07-01DOI: 10.1017/S0040298223000062
C. Carey
Abstract Elliott Carter's programme notes for his String Quartet No. 5 describe it as being about the embodiment of human interaction within the rehearsal process. This article develops this concept, evaluating the musical figures that are foreshadowed by the fragments that Carter suggests are rehearsal outtakes. Certain motives are reiterated and developed through slight variations, thus exemplifying the rehearsal process, and perhaps the editorial process, in detail. Interactions within this model are suggestive of the character types that Carter has delineated in his previous string quartets, notably No. 2. Using the Practice Session model also alludes to the real-life circumstances of the preparation of previous quartets by ensembles, and anecdotes about the Juilliard Quartet's rehearsals for the premiere of the String Quartet No. 3 can enhance a narratological understanding of the No. 5's construction. Finally, String Quartet No. 5 is considered as an example of one of the transitional works that initiate Carter's late style and its consolidation of material; its use of all-interval chords, their subsets and supersets reflects the constructive elements of human interaction that Carter has stressed as a principal thematic element.
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Pub Date : 2023-07-01DOI: 10.1017/S0040298223000189
Mia Windsor
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Pub Date : 2023-07-01DOI: 10.1017/S0040298223000232
Tim Rutherford-Johnson
releasing Cosmic Time as an audio-only download, both of these aspects are lost on the listener. With the flexibility of an online release, would it not have been possible to have included some video clips of the performance and a brief explanation of the research process? What I find more satisfying, however, is the skill of the creators and the performers in choosing their sounds carefully, giving each movement time to develop without outstaying its welcome. While this album may not provide anything particularly new, it does what it does very well, without sounding like something you may hear piped through the speakers of a health spa. I am particularly struck with the restraint of the performance – at no point is there a sound or individual performance that intrudes on the atmosphere being created at that time. Each movement is discrete but blends beautifully into the next, making a balanced whole, a reflection of the egalitarian nature of The Sound Collectors Lab themselves, who from the outset have focused on ‘plurality and collaboration’. Without knowing the interdisciplinary context or scientific background to the research, there is little on this release that would particularly challenge the listener. Yet I would highly recommend setting aside 40 minutes to turn down the lights, get comfortable and listen to this album on headphones. Gleave, Cole and Devenish have created a beautiful meditation on time and space, and taking a moment to slow down and join them is a very welcome experience.
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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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