{"title":"论物质不确定性","authors":"Scott Mclaughlin","doi":"10.1080/07494467.2022.2080456","DOIUrl":null,"url":null,"abstract":"‘Material indeterminacy’ is the term I use to discuss how my work since 2010 has explored the consequences of placing materiality, indeterminacy, and responsiveness at the centre of a compositional practice, and what means for the relationships between instrument, player, and score. I propose that the structural consequence of contingency in instrumental performance is an underexplored aspect of experimental composition, which has historically tended to focus on models that either control contingency or obviate its consequences. ‘Material indeterminacy’ is proposed as a third way that folds the emergent consequences of contingency back into meaningful relation with the unfolding structure. This research is framed by theoretical perspectives on materiality: Andrew Pickering’s performative ontology of human and material agencies, specifically his ‘dance of agency’ between human and material; anthropologist Tim Ingold’s phenomenological approach to materiality that valorises the relational ‘working-with’ of human and material. The liveliness of materiality is considered in relation to Lucy Suchman’s work on situatedness and the entwined nature of plans and actions, and then returned to a musical context via listening and the discourse of improvisation as response-to-contingency. Finally, I discuss these ideas via examples of my own work from the Garden of Forking Paths compositional project (2019–2021).","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"On Material Indeterminacy\",\"authors\":\"Scott Mclaughlin\",\"doi\":\"10.1080/07494467.2022.2080456\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"‘Material indeterminacy’ is the term I use to discuss how my work since 2010 has explored the consequences of placing materiality, indeterminacy, and responsiveness at the centre of a compositional practice, and what means for the relationships between instrument, player, and score. I propose that the structural consequence of contingency in instrumental performance is an underexplored aspect of experimental composition, which has historically tended to focus on models that either control contingency or obviate its consequences. ‘Material indeterminacy’ is proposed as a third way that folds the emergent consequences of contingency back into meaningful relation with the unfolding structure. This research is framed by theoretical perspectives on materiality: Andrew Pickering’s performative ontology of human and material agencies, specifically his ‘dance of agency’ between human and material; anthropologist Tim Ingold’s phenomenological approach to materiality that valorises the relational ‘working-with’ of human and material. The liveliness of materiality is considered in relation to Lucy Suchman’s work on situatedness and the entwined nature of plans and actions, and then returned to a musical context via listening and the discourse of improvisation as response-to-contingency. Finally, I discuss these ideas via examples of my own work from the Garden of Forking Paths compositional project (2019–2021).\",\"PeriodicalId\":44746,\"journal\":{\"name\":\"Contemporary Music Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Contemporary Music Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/07494467.2022.2080456\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Contemporary Music Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/07494467.2022.2080456","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
‘Material indeterminacy’ is the term I use to discuss how my work since 2010 has explored the consequences of placing materiality, indeterminacy, and responsiveness at the centre of a compositional practice, and what means for the relationships between instrument, player, and score. I propose that the structural consequence of contingency in instrumental performance is an underexplored aspect of experimental composition, which has historically tended to focus on models that either control contingency or obviate its consequences. ‘Material indeterminacy’ is proposed as a third way that folds the emergent consequences of contingency back into meaningful relation with the unfolding structure. This research is framed by theoretical perspectives on materiality: Andrew Pickering’s performative ontology of human and material agencies, specifically his ‘dance of agency’ between human and material; anthropologist Tim Ingold’s phenomenological approach to materiality that valorises the relational ‘working-with’ of human and material. The liveliness of materiality is considered in relation to Lucy Suchman’s work on situatedness and the entwined nature of plans and actions, and then returned to a musical context via listening and the discourse of improvisation as response-to-contingency. Finally, I discuss these ideas via examples of my own work from the Garden of Forking Paths compositional project (2019–2021).
期刊介绍:
Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.