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  • Cassidy Artículo

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    isay corleone
    8 Ansichten11 Seiten
    Articulo, paper

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    Cassidy artículo

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    Articulo, paper

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    © All Rights Reserved
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    8 Ansichten11 Seiten

    Cassidy Artículo

    Hochgeladen von

    isay corleone
    Articulo, paper

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 11
    by Aaron Cassidy You know in my case al painting ... is accident. So I foresee it in my mind, | foresee it, and yet F hardly ever carry it out as | foresee it. It transforms ‘itself by the actual paint.... And in my case | fee! that anything I've ever liked at all has been the result of an accident on which | have been able to work. Because it has given me a alsoriented vision of a fact | was attempting to trap. Francis Bacon' Decoupling & Physicality ‘And the scream, Bacon's scream, is the operation through which the entire body escapes through the mouth (or, Three Studies for Figures at the Base of a Crucifixion) (2005-09) is a work for nine players written for and dedicated to the ‘exceptional musicians of ELISION.? The piece extends and develops my recent work with prescriptive, multi-layered tablature notations and is principally centered on the con- struction of a limited collection of physical gestural models that can be shared between different instrumental families, unifying and focusing the types of available sound-produc- tion actions while concomitantly generating highly dispa- rate, unstable, and heterogeneous soundworlds. As with virtually all of my work since 1999, the various physical, bodily interfaces with instruments are “decoupled,” sepa- rated into layers of independent movements and actions Which are recombined in a variety of unpredictable ways. The piece contains three extractable works that can be performed independently: What then renders these forces visible i a strange smile (or, First Study for Figures at the Base of a Crucifixion) for solo trumpet; Because they mark the zone where the force is in the process of strking (or, Second Study for Figures at the Base of a Creer solo trombone; and Being itself a catastrophe, the cays, must not create a catastrophe (or, Third Study tr Fig, at the Base of a Crucifixion) for oboe (doubing musty and English horn) and clarinet (doubling Etat ard tay clarinets).3 Each of these works develops new peramarc, techniques (and new notational methods) which ema ‘out of the fundamental characteristics of the instrument mechanisms and the movements, musculature, and ensy, required for those instruments to generate sound. Thun. pet solo, for example, involves independent movement the three valves, the intonation slide, and the embouchus (Figure 1); the trombone solo separates the movements the slide, the F-trigger, and the embouchure into tytn cally and gesturally disorete strata (Figure 2); and the cboe clarinet duo similarly separates the actions of the ebay cchure (mouth, lips, tongue, breath) from the actions of te fingers in their interaction with the instrumental mechanism Crucially, in each case it is the way in which a sound is produced that becomes the central musical mater nts work | was particularly interested in ways in which | cout construct sound-producing categories of actions and ges tures that would, in a sense, maintain their structural, mi sical function even when the sounds that they produced differed by quite substantial degrees. In the case of thee semble work, these gestural models are passed between instruments, so that, for example, patterns of movement ct the trombone slide might reappear in the violin or vil, f- gering patterns in the trumpet might be recontextuaized 3s right hand fingerings in the oboe or clarinet, thumb move ments in the oboe might be transferred to movements the F-trigger in the trombone, or to take a more abstract example, changes in bow pressure in the strings might ao appear as changes in lip tension in the winds or brass. 1 Quoted in Armin Zweite, Francis Bacon: The Violonce ofthe Real (Thames and Hudson, 2006, p. 214-15) 2 The compete instrumentation s cboe rusette, English hor), Bat clarinet (Eat & bass clarinet), trumpet, trombone, harp percussion, ve, wi double bas, ‘Thetis are dawn trom Gis Dsleuze's text onthe work of Francis Bacon, The Logic of Sensation (Univers of Minnesota Press, 2008, Dani. Sh ‘rans, ad the subtitles ftom Bacon's seminal tepych of 1944 Tate Modern, London. Video recordings ofthe extracted works av avatabie on Yue abe side Fg 1. What then renders these forces visible isa strange sie (2008) baee In each case, the notation is exclusively prescriptive, clearly of the physical actions and energies that created them, and prioritising the physical, performative, gestural aspects of | have set out to make those actions and energies musically sound production. | am of course by no means arguing that meaningful, to create connections between aural events the sounds do not matter — indeed, for me they are funda- that are principally generated through physical gesture, and ‘mental - but rather that the indeterminacy of those sounds to enable richer and more mutt-dimensional polyphonic, (or, the unpredictability of the specificity of those sounds) is contrapuntal interactions driven by aspects of performance inconsequential. The sounds have at their core the residue and action.* Fig 2. Because they mark the zone where the force i inthe process of string (2008), b.1-3 4A quck explanation ofthe notation may be useful. The three valves are rhythmicaly and gestural independent the rhythm stems are disconnected trom ‘her noteheads nan effort to compress and condense the notation): ¢ = vale ful depressed; © = vave 2/3 depressed: § = vave 1/3 depressed: € = vale Pen, The bottom ine ofthe intonation slide staf incicates thatthe tube i uly extended, the top indicates that the tube is ful inserted. The changes ‘rocuchure ae nolated graphcaly, indicating the parta/harmoni"buzeng pitch” ina farty open, relative fashion. His important to note thatthe various ‘agonal nes on ths top staf reer solely to Ip tension/embouchure adjustments — the staff indicates a smooth physical continuum from loose to tight lenbouchure, not @ smooth pach continuum. The cagenal ines on th stat! wil resut in cferentintervalic relationships as one moves from one part of ‘he harmon sees to another isnot sounding pitch that is notated, but rather ip tension (vs-2-vs the harmonic sere). Unie the decouping in brass works by K. ibe, R. Bare, or W. Hoban, spacic pata ae rot ncicated, asthe lexi, ndeterminacy, and inconsistency of the resulting sound is ‘secondary tothe consistency of action and gesture, ‘Further infomation about the relatonshyp between prescriptive notation and indeterminate or unprecictabie sound in my work can be foundin “Deterrinate ‘Sound: Tablature and chanca n several recent works." The Second Moderna (New Music and Agstheticsn the 21st Century, Volume 1 Matekopl, Schung andi Cox, eds. other: Wolke Verlag, July 2008) 17 What follows is a detailed examination of the materials and For any given phrase, the number of gestural models ang ‘compositional methods of the extractable oboe and clarinet the specific collection of model types are mapped. These duo, focusing in particular on how these physical gestural are frequently in flux such that each phrase establishes models are generated and how the models are shared and _ textural trajectories through the accumulation or reduction ‘exchanged between instruments. At the heart of the dis- in available gestural models. Figure 4, for example, shows cussion is the relationship between constraints on physical a single phrase which moves from three available gestura movement (families of movements, control of articulative en- models (model numbers 2, 6, and 8 above) eventually to a ‘ergies, and particular approaches to physical contortion and _ single model (discarding 2, then 8, ending only with the osci-

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