{"title":"Iterative Processes: Notating, Composing, and Performing as Journey Forms","authors":"L. Redhead","doi":"10.1080/07494467.2022.2080459","DOIUrl":null,"url":null,"abstract":"This essay posits that the practices of notation, composition, and performance are not creatively distinct from each other when observed, in particular, in radical works of graphic or text notation that make no or little reference to the western tradition of music notation, and whose composers offer no or few indications of the methods by which they should be interpreted or their intended performance outcomes. In such works of experimental music, performer choice and creativity are highlighted, but issues of composer choice and creativity may be equally observed, alongside the performative practices of notation. Understanding these practices as iterations of the same process means that the activities of notating, composing and performing can be considered as equal without the need to posit the performance of experimental scores as a compositional practice in and of itself. These ideas will be explored in examples from the works ijereja (2015–2016) and glíwmæden (2016)","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"266 - 280"},"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/10.1080/07494467.2022.2080459","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
This essay posits that the practices of notation, composition, and performance are not creatively distinct from each other when observed, in particular, in radical works of graphic or text notation that make no or little reference to the western tradition of music notation, and whose composers offer no or few indications of the methods by which they should be interpreted or their intended performance outcomes. In such works of experimental music, performer choice and creativity are highlighted, but issues of composer choice and creativity may be equally observed, alongside the performative practices of notation. Understanding these practices as iterations of the same process means that the activities of notating, composing and performing can be considered as equal without the need to posit the performance of experimental scores as a compositional practice in and of itself. These ideas will be explored in examples from the works ijereja (2015–2016) and glíwmæden (2016)
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.